NOMINEES FOR MOTION PICTURE
Actress in a Motion Picture, Drama
Alfre Woodard, Clemency
Charlize Theron, Bombshell
Cynthia Erivo, Harriet
Helen Mirren, The Good Liar
Renee Zellweger, Judy
Scarlett Johansson, Marriage Story
Actor in a Motion Picture, Drama
Adam Driver, Marriage Story
Antonio Banderas, Pain and Glory
Christian Bale, Ford v Ferrari
George MacKay, 1917
Joaquin Phoenix, Joker
Mark Ruffalo, Dark Waters
Actress in Motion Picture, Comedy or Musical
Awkwafina, The Farewell
Ana De Armas, Knives Out
Constance Wu, Hustlers
Julianne Moore, Gloria Bell
Actor in Motion Picture, Comedy or Musical
Adam Sandler, Uncut Gems
Daniel Craig, Knives Out
Eddie Murphy, Dolemite Is My Name
Leonardo DiCaprio, Once Upon a Time in Hollywood
Taron Egerton, Rocketman
Taika Waititi, Jojo Rabbit
Actress in a Supporting Role
Jennifer Lopez, Hustlers
Laura Dern, Marriage Story
Margot Robbie, Bombshell
Penelope Cruz, Pain and Glory
Nicole Kidman, Bombshell
Zhao Shuzhen, The Farewell
Actor in a Supporting Role
Anthony Hopkins, The Two Popes
Brad Pitt, Once Upon a Time in Hollywood
Joe Pesci, The Irishman
Tom Hanks, A Beautiful Day in The Neighborhood
Willem Dafoe, The Lighthouse
Wendell Pierce, Burning Cane
Motion Picture, Drama
1917, Universal Pictures
Bombshell, Lionsgate
Burning Cane, Array Releasing
Ford v Ferrari, Twentieth Century Fox
Joker, Warner Bros
The Lighthouse, A24
Marriage Story, Netflix
The Two Popes, Netflix
Motion Picture, Comedy or Musical
Hustlers, STX Entertainment
Knives Out, Lionsgate
Once Upon a Time in Hollywood, Columbia Pictures
Rocketman, Paramount
The Farewell, A24
Uncut Gems, A24
Motion Picture, International
Senegal, Atlantics
Russia, Beanpole
France, Les Miserables
Spain, Pain and Glory
Korea, Parasite
Estonia, Truth and Justice
France, Portrait of a Lady on Fire
Czech Republic, The Painted Bird
Motion Picture, Animated or Mixed Media
A Shaun the Sheep Movie: Farmageddon, Netflix
Alita: Battle Angel, Twentieth Century Fox
Buñuel in the Labyrinth of the Turtles, GKIDS
How to Train Your Dragon: The Hidden World, Universal Pictures
The Lion King, Walt Disney Studios Motion Pictures
Toy Story 4, Walt Disney Studios Motion Pictures
Weathering With You, GKIDS
Motion Picture, Documentary
63 Up, BritBox
Apollo 11, Neon
Citizen K, Greenwich Entertainment
Honeyland, KJ Films
One Child Nation, Amazon Studios
The Apollo, HBO Documentary
The Cave, National Geographic Documentary Films
FOR SAMA, PBS
Director
Bong Joon Ho, Parasite
James Mangold, Ford v Ferrari
Noah Baumbach, Marriage Story
Pedro Almodóvar, Pain and Glory
Sam Mendes, 1917
Quentin Tarantino, Once Upon a Time in Hollywood
Screenplay, Original
Bong Joon Ho, Parasite
Jez Butterworth, John-Henry Butterworth, and Jason Keller, Ford v Ferrari
Lulu Wang, The Farewell
Noah Baumbach, Marriage Story
Pedro Almodóvar, Pain and Glory
Quentin Tarantino, Once Upon a Time in Hollywood
Screenplay, Adapted
Anthony McCarten, The Two Popes
Edward Norton, Motherless Brooklyn
Matthew Michael Carnahan, Mario Correa, Nathaniel Rich, Dark Waters
Steven Zaillian, The Irishman
Taika Waititi, Jojo Rabbit
Todd Phillips & Scott Silver, Joker
Original Score
Thomas Newman, 1917
Marco Beltrami & Buck Sanders, Ford v Ferrari
Randy Newman, Marriage Story
Robbie Robertson, The Irishman
Terence Blanchard, Harriet
Hildur Guonadottir, Joker
Original Song
“Don’t Call Me (Angel)”, Charlie’s Angels
“Into the Unknown”, Frozen II
“(I’m Gonna) Love Me Again”, Rocketman
“Spirit”, Lion King
“The Ballade of the Lonesome Cowboy”, Toy Story 4
“Swan Song”, Alita: Battle Angel
Cinematography
Dick Pope, Motherless Brooklyn
George Richmond, Rocketman
Lawrence Sher, Joker
Phedon Papamichael, ASC, GSC, Ford v Ferrari
Rodrigo Prieto, The Irishman
Roger Deakins, 1917
Visual Effects
Alita: Battle Angel, Joe Letteri, Eric Saindon
Avengers: Endgame, Dan DeLeeuw, Matt Aitken Russell Earl, Dan Sudick
The Lion King, Robert Legato, ASC, Andrew R. Jones, Adam Valdez, Elliot Newman
Ford v Ferrari, Olivier Dumont, Mark Byers, Kathy Segal
Joker, Edwin Rivera, Mathew Giampa, Bryan Godwin
The Irishman, Pablo Helman
Film Editing
Lee Smith, ACE, 1917
Michael McCusker, ACE & Andrew Buckland, Ford v Ferrari
Jeff Groth, Joker
Jennifer Lame, ACE, Marriage Story
Chris Dickens, Rocketman
Thelma Schoonmaker, The Irishman
Sound (Editing and Mixing)
1917, Oliver Tarney, Stuart Wilson, Scott Millan,
Mark Taylor
Avengers: Endgame, Shannon Mills, Daniel Laurie, Tom Johnson, Juan Peralta, John Pritchett, CAS
Ford v Ferrari, Donald Sylvester, Paul Massey, David Giammarco, Steven A. Morrow, CAS
Joker, Alan Robert Murray, Tom Ozanich, Dean Zupancic
Once Upon a Time in Hollywood, Wylie Stateman, Mark Ulano, CAS, Michael Minkler, CAS, Christian P. Minkler, CAS
Rocketman, Matthew Collinge, John Hayes
Art Direction and Production Design
1917, Dennis Gassner, Lee Sandales
Ford v Ferrari, François Audouy, Peter Lando
Joker, Mark Friedberg, Laura Ballinger
Motherless Brooklyn, Beth Mickle, Michael Ahern
Once Upon a Time in Hollywood, Barbara Ling, Nancy Haigh
The Two Popes, Mark Tildesley, Saverio Sammali
Costume Design
Dolemite Is My Name, Ruth E. Carter
Joker, Mark Bridges
Judy, Jeny Temime
Rocketman, Julian Day
The Two Popes, Luka Canfora
Downton Abbey, Caroline McCall, Anna Robbins, Susannah Buxton, Rosalind Ebbutt
I gonna go ahead do my first awards season review for ‘Ford vs. Ferrari’.
I start by my own admission and confession to make..i am not a Racing fan infact i cant stand it on TV. when i hear the Grand Prix engine noise in melbourne where in albert park in my view for far too long Melbourne have hosted the grand prix, (honestly how naive of the execs who run the Grand PRix to just deny other states and other countries the rights to host the Grand Prix) but the point is i not anti- racing i just dont care for it..plus the noise of a fired up engine is annoying to hear miles away from a cluster of up to 50 cars or so racing for what? some grid girls to celebrate with a few million dollars in prize money to show just how much they live life on the edge just for the heck of it? I no greeny but seriously it just plain annoying.
I never appreciated the rigours of racing or the challenges…I never even bothered to give a shit..second to golf it sport i liked the least..i always changed the channel after the soccer and afl/ cricket sport report when car racing came on (ok i confess i hate rugby too but each to their own right).
No it true i dont give a fuk about car racing movies..let alone challenges drivers, the teams the engineers face..that is…until “Ford vs Ferrari” roared to a cinema near me.
And boy how ignorant i have been all these years of the importance of the history and pride and ambition and challnege the scale, the scope and the stakes go beyond winning for glory and grid girls and to feed ones ego. No i got it largely wrong i admit.
It one thing for a film like Ford vs. Ferrari to be touted by media as an awards contender..but it another entirely for non- racing fans i not alone mind you on that by nature to find they can relate, appreciate and value what an entire racing/ engineer/ business team go through in preparation for a race. For this alone this film deserves to be an oscar contender.
But then you add the additional ‘us vs. them (ford)’ mentality, chuck in some truly tasty twists that all a true story based on fact i may add..and the idea and concept that two individuals can challenge the established order of how a car company operates to prove a judgement of the grunt workers the true technicians mechanics and engineers rather than the ‘men in blue suits’ who are business men ignorant only bout transactions rather than substance of what takes to make a car truly compete on the racing circuit, and you hjave a increasignly ambitious cinematic achievement.
BUT then you add the sheer chemistry on and off the track of the two leads of the chameleon of all actors of our generation in Christain Bale with Matt Damon and you have a turbo charged story of magnificent entertainment filled with thrills, spills and high stakes personallky and professionally.
The courage to not only aim to beat Ferrarri at their own game they dominated for years at lamans, france, but also to show Ford that they should consider thinking outside the square to get their company on track in a changing and more competitive edge.
Then combine this formula much like matching right parts to a car that docked at the pit stop during a race.make sure the right material, the right part matches with the interior part of the car that needs servicing to the exterior, of the fusion of critical coporate decision making vs/ the internal gamble and risky venture of the formidale duo of Shelby and Niles, to challenge the established order..
And you have a cinematic masterpiece of superior performance, endurance and pacing that never lets up in its twists and turns its high stakes and drama.
But this film is an ode to an american company that since that time has transcended it origins to be most dominant motorcompany revolutionising global car industry since the landmark event- outcomes for ford in lamans since that time.
An American company that showcased it pride in its national achievements through beating ferrari that however reluctantly exported their technical and engineering/ business talent for the world and drivers to this day to experience.
If the Academy are to consider the value and worth of a once domestic asset since soared gone global thanx to a pivotal race in history that this film indeed deserves to be seen as it historic tribute to as defining turning point in a key foundatrion of evolution of manufacturing in american history, then if they have enough self respect and dignity and loing overdue appreciation for a film of ambition and magnitude and importance of ford vs. ferrari not to mention its turbo charged entertainment value, then at very least they ought to give ford vs. ferrari 10 oscar nominations and even money shot at winning best pic.,
Furthermore as far as a filmmaker challenging themselves with a film of this scope and nature and very concept..this is indeed far more impressive a achievement by far than Scorseses increasingly stereotypical run of gangster themes dramas.
This film Ford vs Ferrari still shows us the important of experience film on big screen not on netflix drivel that are small screens. This film is also why the Irishman is far from black and white dead set oscar winner.
It be folly and absolute foolishness for the academy to turn a blind eye to this marvel of a masterpiece of a film.
With that this is how my top 5 for now with * to denote i yet to see but have high hopes for stands.
But the other thing that cannot be understimated on top of Ford V Ferrari on a ode to miracle true talents of creating innovative automobiles on top of an ode to what it takes for industry challenges to reinvent and remain relevant in changing times (very relevant to todays challenges of particularly manufacturing ./automotive industry. this is an ode to one of the finest examples of chemistry between in a rarity, 2 equal main leads not just one dominant lead actor in matt damon and christian bale.
In many ways i see this as this years ‘the aviator’ just as good if not better given the more contemporary relevance to challlenges of demands of need for industry to evolve to survive.
Above all else the human dimension comes to the for the manner it does is one of self respect and dignity that poses question to us all..when we achieved our goals faster than we expect (not too many of us do in our lifetime i certainly have not) is it time step back and let others on same team catch up? after all there no ‘i’ in team.
I think this film is event film in it own right it is a masterpiece and to me amongst best films of this year. and i take my hat off to director James Mangold…for he is true engineer head engineer behind this belter of a movie.
my rating as follows:
1. Ford Vs. Ferrari
2. Joker
3. I gonna add it in direct defiance to academ,y and awards season tunnel vision anti- sci-fi discrimination- Avengers Endgame (but it slipped to no,.3 cos i cant help but think that something bigger more special once phase 5 hits its peak is coming our way and blow the academy away more so than endgame)
4. 1917 *
5. The Irishman (honestly i really disappointed Scorsese got sucked into netflix even then this film hardly challenges his own filmmaking prowess and really taking away fact it on netflix in truth is just anmother gangster drama that been done before perhaps far less flawed than Scorseses other work but since when should oscar go to really best picture of year based on fact a filmmaker hardly pushed themselves in their material play it ‘safe’ only do something less flawed than what they d0one before?
I weant to say for people like me that did not know bout this historic race that turned into a game changer for ford and all involved inc Shelby and Niles, that when Christain Bale uttered his first line in the start of movie nothing could prepared me for accent he displayed once again he is the actor that surprises all in hollywood and if Joaquin Phoenix doesnt win oscar (believe it or not there a chance he may suffer from fact that the joker character won oscar when performed by none other than heath ledger), then you can bet Christian Bale will be a frontrunner and so he damn well should be. Every role he does he pushes acting to the edge..he done it again..very few actors do…and on top of that he clearly lost weight for this role so determined he is get into character..he one of the exceptional acting talents of our generation and his own and it bout damn time academy stop nominating him and start giving him the damn win.
No Lupita Nyong’o. Too bad the film was released so early.
Alita Battle Angel – best Motion Picture, Animated or Mixed Media
Joe Letteri, Eric Saindon – best Visual Effects
Swan song – best Original Song
That Best Original Song category is utter garbage outside of Frozen II, while the Toy Story 4 song isn’t even competing for the Oscar by virtue of it being the second cue in the end credits (which is against the rules) and “I Can’t Let You Throw Yourself Away” is too weak to contend instead. I deeply hope no other awards group views that category as their model.
Why not nominate from among the first eight of this playlist instead? https://www.youtube.com/playlist?list=PLmQsis4s5v9eoByAIPdcmI5-7UJKF2DrG
Curious about others’ thoughts on the Satellite nominations, but a few initial thoughts:
– Absolutely terrific “International Film” line-up (Parasite, Portrait of a Lady on Fire, Pain and Glory. Atlantics, and Beanpole are top 10 of 2019 – just too bad they missed About Endlessness)
– Parasite underperforms (Director, Original Screenplay, FLF should be “guaranteed” noms, but no techs and to a lesser extent no Supporting Actor nomination is disappointing)
– Ford v Ferrari and Joker outperform (imagine if either gets 10 Oscar nominations?)
– Marriage Story, 1917, Once Upon a Time in Hollywood perform mostly as expected, though the former gets techs (!) and the latter gets very few techs, including no Cinematography nom for Richardson
– No Picture, Director, or Actor nominations for The Irishman, even though the members clearly saw it and liked it (6 nominations overall)
– No Picture or Director nominations for Jojo Rabbit
– The Farewell (4 nominations) and Pain and Glory (5 nominations) are doing quite well so far
– No Pryce in Actor despite 12 slots
– Rocketman outperforms (a sign of things to come a la Bohemian Rhapsody?)
– No Cinematography nom for The Lighthouse, even though it snagged Picture
– No other nominations for Uncut Gems other than Sandler, even though it snagged Picture
– Motherless Brooklyn</i< gets 3 nominations including Adapted Screenplay (have people since this? I heard reception's been lukewarm at best)
Hugest shocker for me… Parasite, 3 – Pain and Glory 5.
I did not see that coming, honestly. But I always defended that the supposed gap between both films isn’t huge, but actually narrow. Parasite appeals more mainstream audiences, Pain and Glory is more arthouse.
I see you Joe Pesci 🙂 <3
Top Films
1917
Dolemite is My Name
Ford v Ferrari
Jojo Rabbit
Knives Out
Marriage Story
Once Upon a Time…in Hollywood
Richard Jewell
Uncut Gems
Waves
No Joker…damn
There is. Joker is nominated best film, Phoenix for actor, and lot of technical categories.
NBR is going to be in less than 1 hr.
Considering that The Golden Satellites is a kind of “cousin” of The Golden Globes, and there are members who vote for the 2 awards (The Golden Satellites born of a contingent of the Globes), it is in some way accurate from what I have been hearing: these groups loved “The Two Popes”, “1917” and “Marriage Story” – these three films were basically nominated everywhere here, and expect the same for the Globes, and in The Irishman arena, they prefer Pesci over De Niro and Pacino. They also loved “Rocketman”. Of course, we still need to wait and see, but not being nominated here, IS a sign of weakness, because considering this group has about 70-100 members, and an avarage of 6 niminations per film category (in a total of 12), missing here means you didn’t even have a sample of votes (like 10 for example). So, “The Irishman” watch out! Maybe we just have another “Cassino” and not another “Godfellas”
though aren’t they cousins that aren’t talking? So satellites could go against GG choices in some parts, though there’s a tea that GG was mixed on The irishman if I recall correctly.
A lot of their choices coincide with the tea we have about HFPA so thinking Satellites don’t matter at all is wrong. It’s pretty much a confirmation where this is going but of course there will be some diverging points. The Irishman being shut down like this is a big red flag and the proof we’ve been overestimating it.
Oh, I had no idea about this overlap… So THAT’s why their stats are so well-correlated to BP…
Sasha, I remembered an article you wrote lat year about the “army of the righteous” on social media picking on Green Book, and now with these nominations and the Gotham Awards favoring Marriage Story… do you think this “army of the righteous” might have chosen The Irishman as this year’s target, given Mr. Scorsese’s latest comments on Marvel movies?
Except among people who work in the industry, the increasing dominance of Disney is not seen as a GOOD thing for artistic freedom or available financing. Especially with the quietly growing controversy about Disney removing old 20th Century Fox movies from circulation.
2018: 7 NBR not nominated for BP
2017: 5
2016: 4
2015: 5
2014: 7
We are looking at a supposed ‘lock’ of 7 or so this year but history says that not all of them are going to make it.
Movies I think could land in NBR but not get BP nom at Oscars:
A Beautiful Day in the Neighborhood
Hustlers
Queen and Slim
Two Popes
Dolemite is My Name
Waves
I actually think we see US here…
Even ENDGAME has a decent shot at NBR
Hell of a showing for JOKER!
Odd that Marty and IRISHMAN missed, but I’m glad that Pesci made it… If only one of the 3 had to I’d pick him as well.
Nice seeing a variety of actors making it in like Ruffalo, McKay and Bale.
I never take much stock in the Satellites but it can never hurt getting a nod or a win from any award show.
Happy to see Julianne Moore get nominated.
Same with Willem Dafoe.
What time’s NBR?!
Last year it was a press release distributed around 11 am PST. So around three hours from now…
That Taiki Waititi nomination for Best Actor is bonkers. He was the worst part of the movie for me. I felt like I was watching him doing a Fred Armisen-doing-Hitler impression. Wow. And I LIKED (not LOVED) the movie.
ETA: Were there only 4 Comedy/Musical Actress nominees?
They must have a minimum # of votes before a nomination is warranted and only those 4 got enough… That’s my guess anyways.
Harvey had more of a presence in his film than Waititi’s Adolf had in Jojo Rabbit, and Harvey is freaking invisible!
if P&G momentum continues, Cruz is making Supporting Line up with Dern and Lopez. So 2 more spots to fill, but I expect Zhang to make it, so one more up for grabs. I can’t see GG snub Cruz.
There are many years where a supporting role gets swept in with a big lead role. Maggie in Crazy Heart, Janet in Albert Nobbs. I could 100% see a shocker of Cruz in supporting if Banderas makes it.
coattailers, yes.
Plus she’s a past winner which can’t hurt… For the win perhaps but not for the nod.
The IFA’s are always the crazy cousin of major awards on acid, and this year’s no exception.
As tempting as it is to give this group some thought, I can’t pretend I take them seriously for a second. I never have and probably never will. Same goes for NBR but those guys at least make sure to position themselves in a way that gives them some air time and thus could have some (= not a lot of) impact on the perception of the films they recognise and also on the ones they don’t.
For example if any of the presumed octet of near-locks in BP failed to make the NBR top10, I would consider that a bad sign. Not a dealbreaker but it sure wouldn’t help. The octet being 1917, Ford v Ferrari, Jojo Rabbit, Little Women, Marriage Story, Once Upon a Time in Hollywood, Parasite, The Irishman.
I’m predicting at least one of those eight do NOT make the NBR actually.
Probably even more than one.
NBR can be pretty ballsy sometimes. They may not be extremely influential but I bet all voters see the list which in it self means something.
So, Parasite didn’t make the list – which Roma did last year, so we know strong foreign language BP contenders can get in there. Bad sign, no? Seems like it to me. I see no particular reason for them to do this if it was as strong/liked as anticipated… Also no Little Women. (Did they see it?)