92nd Academy Award Predictions

Here are my picks for who will and who should win the Oscars this Sunday night. (note, Should Wins are included only for categories where I've seen more than half the nominees

BEST PICTURE

Will Win: What at one point looked to be a wide open race has turned into a head-to-head for just two films; 1917 and Parasite. Both of these films have managed to build and hold onto their buzz, while most of the rest of the films have either somewhat lost their passion or are simply too divisive to win on the preferential ballot. Currently it looks like 1917 will be the one to beat, as it has won the most awards, and is a crowdpleasing film in a likable genre. However, Parasite's near universal support means that it could take the win if the voting gets down to the 3rd and 4th place picks. However, it being a foreign film will unfortunately probably hold it back.

Should Win: Parasite is such a brilliant film that has managed to find love and passion among a large swatch of the public. It's so unique, subtle and intricate that awarding it Best Picture could really help bring some of the public respect back to the Awards, which have been facing criticism as of late.

BEST DIRECTOR

Will Win: While Best Picture is a fairly tight race, Best Director is a much easier call. 1917 is a tremendous technical achievement AND and a film that packs an emotional wallop. Sam Mendes should have an easy path to his second Oscar

Should Win: Four of the five directors, in my opinion, delivered powerful and fantastic directorial work. However, two of those four, Scorsese and Tarantino, are more or less working in their usual style. Sam Mendes and Bong Joon Ho would both make great winners. Though Mendes had a brilliant command of the technical aspects of his craft, Bong Joon Ho had to walk an incredibly difficult tightrope of tonal shifts, complicated character motivation and tension, all while keeping the film entertaining. As such I feel he deserves the win. 

BEST ACTOR

Will Win: No difficulty here, Joaquin Phoenix will become the second actor to win an Oscar for playing the Joker.

Should win: All five performances are great, although I'd prefer some of the not-nominated performances over any of these five. Still, I'd probably agree with the Academy and go with them in awarding Joaquin Phoenix. Though I have issues with the film "Joker," none of those issues involve Phoenix's brilliant, tense and powerful performance.

BEST ACTRESS

Will Win: Though all four acting categories seem locked up, Renee Zellweger could be the frontrunner most vulnerable to an upset. Her film is the only predicted acting winner to not be a Best Picture nominee, meaning much of the Academy may not even see Judy, a turn of events that likely cost Glenn Close an Oscar. However, none of the other competitors this year are as strong as Olivia Colman was last year, so Renee Zellweger should still find her self on stage, although if there is an acting category to pick a surprise for, this is it. 

BEST SUPPORTING ACTOR

Will Win: Since Joe Pesci and Al Pacino are going to split with each other after both being nominated for the same film, I see no reason to vote against Brad Pitt winning an Oscar for Once Upon a Time in Hollywood, to go along with his Golden Globe, SAG award and Bafta.

Should Win: As great as Brad Pitt is in Once Upon a Time in Hollywood, he is very much a lead role, not a supporting. As such, I'll pick my favorite from the rest of the nominees. Though all are great, the only one who's really going against their usual type of performance is Joe Pesci, who delivers a more quiet and restrained performance than we've ever seen from him.

BEST SUPPORTING ACTRESS

Will Win: Laura Dern has been having a career-resurgence the past few years, and this year she delivered an excellent performance in a Best Picture nominated film that's unlikely to win anywhere else. Though Scarlett Johansson could draw some support for her double-nomination here, She'll likely split between her two categories, allowing Dern an easy victory.

Should Win: Laura Dern performs the hell out of her role in Marriage Story, but it's not a particularly deep character. Johansson was great in Jojo Rabbit, although I felt Thomasin McKenzie gave a somewhat stronger performance. Thus, I'd give a vote to Florence Pugh for Little Women. Pugh does not just give a great performance in the film, but effectively shows her character's age by properly playing her at different points in her life, and manages to do justice to a historically unliked role, while making her more understandable. All this capping off a banner year where Pugh gave three awards-worthy performances.

BEST ORIGINAL SCREENPLAY

Will Win: Though 1917 is nominated here, the writing categories typically go to more talk-y films, likely counting it out. As much as the Academy likes Quentin Tarantino in this category, this is the best place for voters to reward Parasite outside the International Feature category. As this film is neck-in-neck for the Best Picture race, it should easily ride to a victory here.

Should Win: Parasite is not just the best screenplay of the year, but one of the absolute best of the decade.

BEST ADAPTED SCREENPLAY

Will Win: This is one of the most open of the major categories here. A case could be made for any of The Irishman, Jojo Rabbit and Little Women. Though Greta Gerwig's much publicized directing snub could lead to a swell of Little Women support, the screenplay categories tend to be the most comedy-friendly. As such, this is likely where Jojo Rabbit will make its victory.

Should Win: Little Women and Jojo Rabbit are both fantastic screenplays, but the screenplay for The Irishman manages to be fun, intriguing and tense, despite it's length and predetermined ending. It's brilliant depiction of regret is, in my opinion, fully worthy of the award.

BEST ORIGINAL SCORE

Will Win: This will be a close race. Though most signs are pointing towards a victory here for Joker, I believe the more traditional Academy will wind up going for the more traditional score for 1917, finally awarding Thomas Newman an overdue Oscar.

Should Win: Since the Academy snubbed Emile Mosseri for The Last Black Man in San Francisco (the saddest snub of the year in my opinion) I would be happy to see the year's 2nd best score, that of 1917, awarded here.

BEST ORIGINAL SONG

Will Win: In a weak year for songs, any of the five could conceivably win here. Elton John is well liked enough that his song "I'm Gonna Love Me Again" could end up taking this, especially to make up for snubbing Rocketman in all other categories. However, without a true stand-up number in the mix, the most "important" song could benefit, and this year, that is Harriet's "Stand Up" which, as an added bonus, is co-written by the film's star Cynthia Erivo.

Should Win: Same as for the winner prediction, "I'm Gonna Love Me Again" is a lot of fun, but "Stand Up" carries far more meaning.

BEST FILM EDITING

Will Win: Though Parasite won the ACE award, this category tends to go to the most visible editing, which this year is either Ford v. Ferrari or The Irishman. Since some may not want to give an editing award to a 3.5 hour film, I'd guess the tense racing scenes of Ford v. Ferrari will lead it to a victory.

Should Win: Just because it's long does not mean it's poorly edited, and Thelma Schoonmaker would absolutely deserve a fourth Oscar for her brilliant work keeping The Irishman entertaining. However, Parasite's perfect pacing and tonal consistency should deliver it a victory here.

BEST CINEMATOGRAPHY

Will Win: Roger Deakins shooting a "One shot only" war film! 1917 winning this award is the biggest lock of the year.

Should Win: As brilliant as Deakins work on 1917 is, I'd personally give it to Jarin Blashke's excellent and tone-setting cinematography on The Lighthouse, in my opinion the most visually distinct film this year.

BEST PRODUCTION DESIGN

Will Win: In a tight race between 1917 and Once Upon a Time in Hollywood I'd bet the bias the Academy tends to have for Hollywood films leads Tarantino's latest to an Oscar here.

Should Win: Excellent as Hollywood and The Irishman's recreations of history are, I believe the excellent work creating environments that are simultaneously beautiful and functional for 1917's long tracking shots to be the most deserving.

BEST COSTUME DESIGN

Will Win: This category will probably come down to Little Women vs. Once Upon a Time in Hollywood. Since you should never bet against the dresses, I'm guessing Little Women gets a win here. Although watch out for Joker' fans to lead it to a victory.

Should Win: As fantastic as Little Women's costumes are, The Irishman's subtle-yet-brilliant work helps tell the story, leading its characters through time, each at their own pace.

BEST MAKEUP AND HAIRSTYING

Will Win: Conventional wisdom states that the most prosthetic makeup usually wins, which should lead to a Bombshell victory. However, this is one of the few categories where Joker is truly competitive, and it's instantly memorable clown makeup may stick in voter's minds more than the subtler prosthetics of Bombshell.

BEST SOUND MIXING

Will Win: War films almost always win here, as such it would be unwise to bet against 1917, although Ford v. Ferrari has a decent shot here, as 1917 is fairly quiet for a war film. 

Should win: Ad Astra's soundscapes may have been subtle, but they perfectly set up the film's tone and setting.

BEST SOUND EDITING

Will Win: 1917. See Sound Mixing.

Should Win: Ford v. Ferrari's sound puts you right in the car during the tense race sequences. It's excellent effects are all perfectly crafted for maximum impact. 

BEST VISUAL EFFECTS

Will Win: Though many other categories tend to go to the film with the "most" of whatever the category is, Visual Effects is a notable difference. Here, if there's a Best Picture nominee it tends to win, no matter how big the effects are. this year, we have two Picture nominees, The Irishman and 1917. Though The Irishman's effects are more well known, many have found them to take them out of the film. As such, the Best Picture frontrunner 1917 should notch another victory here.

Should Win: I appreciate when the winner here is really doing something new. 1917's effects are strong, although they contain very little that hasn't been done before. Avengers and Star Wars do not have the best effects of their own franchises, and The Lion King's execution is excellent, but the very concept of realistic looking animals unfortunately ruins the film. As such, I feel The Irishman is the only nominee doing something new, allowing older actors to play their characters for the entire film, without hindering their performances. Though there are rough moments, they come at the expense of trying something new, and they work far, far more often than they don't. 

BEST ANIMATED FEATURE

Will Win: Pixar tends to win this category, but it's also a category where being a sequel is a hinderance. As such, the beautiful and unique animation of Klaus, which has been much lauded as of late, could sneak in and take the cake. Although watch out for Missing Link, which won the Golden Globe in this category.

BEST INTERNATIONAL FEATURE

Will Win: Parasite has this one in the bag. No sweat.

BEST DOCUMENTARY FEATURE

Will Win: This is easily the most difficult category this year. Any of the five could wind up taking this one. Since For Sama won the Bafta, that's what I'll pick here, although I don't feel very confident in this pick.

BEST LIVE ACTION SHORT FILM

Will Win: This will most likely come down to a battle between Brotherhood and Saria. Though Saria is easily the most "important" of the nominees, which could lead to a victory here, Brotherhood is a slightly more emotional an visually distinct entry. As such, Brotherhood is the most likely to win here.

Should Win: Brotherhood is a perfectly crafted and full film. While some of the others seem like they could make great features, Brotherhood already feels like one, in the best way.

BEST ANIMATED SHORT FILM

Will Win: Hair Love has gotten the most attention and acclaim, and for good reason. It's a fun, beautifully animated, and emotionally meaningful film that has touched many many hearts across the country.

Should Win: Hair Love is a brilliant short, as is Sister, but Memorable's surreal and heartbreaking interpretation of dementia is the most creative entry this year.

BEST DOCUMENTARY SHORT

Will Win: Learning to Skateboard in a Warzone (If You're a Girl) hits a powerful trifecta that may be difficult to overcome. It's entertaining, emotional and has the best title (which does matter) Though In the Absence's horror could overtake it, I'd bet on the Skateboarding girls and their uplifting bravery.

Should Win: It may not be as informative as some of the others, but Life Overtakes Me is the most emotional of the four nominees I was able to see (St. Louis Superman is not yet available online) and thus was my favorite.

2019 Spearie Award Winners

BEST STUNT CHOREOGRAPHY

1917-Ben Cooke

Great stunt work is more than just courting danger. Stunts are like a dance, wherein precision and meaning ultimately take the top priority. For a film like 1917, where takes could be as long as ten minutes, that precision was ultimately stretched to the upper limits of difficulty. Not only did the stunt work have to accurately and intensely convey the dangers of warfare, it had to do so in such a way that the camera was able to move around the actors safely while remaining able to capture the footage properly. A difficult precise and beautiful ballet wherein the camera is also a dancer, the stunt work in 1917 is easily the strongest of the year.

BEST VISUAL EFFECTS
Ad Astra-Scott R. Fisher and Allen Maris

Ad Astra brilliantly uses it's visual effects to build a bridge between the more fantastical space-exploration films and the more realistic and grounded ones. The result is a film that is able to stretch believability without breaking it. The brilliant effects work uses unique, yet scientifically accurate lighting; updated yet familiar technology; and recognizable environments created in a new way. The environments, colors and weightlessness all feel grounded in a way that is unique for a more fantastical space film, all of which helps keep the focus on what truly matters in the end: the film's emotional impact.

BEST SOUND EDITING
Ford v. Ferrari-David Giammarco, Eric A. Norris, Donald Sylvester and Jay Wilkinson

Revving engines. Screeching tires. Powerful crashes. Though these effects are not new to the world of film, they are given a weight and life in Ford v. Ferrari that feels new. The immersiveness of the sound effects is like nothing ever seen before, and they put the viewer right in the car with Ken Miles, racing ahead of the competition. This feeling of being in the car adds greatly to the sense of tension in the races, as it makes the audience feel as though they have a stake in the outcome.

BEST SOUND MIXING
Ad Astra-Tom Johnson, Gary Rydstrom and Mark Ulano

In space, sound cannot travel due to the lack of atoms needed to carry it. In film, a complete lack of sound, no matter how realistic, can take an audience out of the moment and out of the intended emotional impact of a scene. Striking a balance between silence and necessary background noise is a difficult highwire act, which Ad Astra flawlessly executes. The film is mostly a quiet one, but uses its sound properly to still create an atmosphere, and a soundscape. The emptiness of space, the business of human culture, and the thrill of space travel are all brought to life without breaking suspension of disbelief. THAT is exactly what great sound mixing should do

BEST MAKEUP AND HAIRSTYLING
Us-Camille Friend and Scott Wheeler

Many films with great makeup seek to create creatures, age or injuries without landing in the uncanny valley, where the near-but-not-quite resemblance to humanity can make viewers uncomfortable. Us dives straight into that valley, and does so in the best way possible. The tethered are a horrifying creation. Using subtle changes that make them look just-off from being human, the tethered inherently terrify and shake us to our core. It's hard to make a horror villain iconic instantly, but the makeup and hair team of Us pulled it off and made it look easy.

BEST COSTUME DESIGN
The King-Jane Petrie

With period pieces, there is often a tendency to go extra flashy and colorful with the costumes. While this is undeniably fun, The King instead errs for realism, with clothing that looks worn, dirty and somewhat gross. The plentiful armor is also very well used. Light and heavy armor are distinct and incorporated into battle strategy. Armor's protective power is also played straight, with it proving useful against slashing weapons, and a deathtrap in mud. The research, care and effort are are all on display throughout the runtime of the film.

BEST PRODUCTION DESIGN
1917-Dennis Gassner

I was amazed when I found that all of the sets in 1917 were built for the film. As obvious as it may seem in retrospect, every location feels so natural that it seems nearly impossible that they were all created just for a movie. The locations also could not simply rest on looking good. They had to service a constantly-moving camera that would be spinning around the actors, allowing for the camera to take shortcuts that would keep the actors in frame and for seamless transitions to new sets. The fact that the film had to accomplish all of this, and manages to do so without it being instantly recognizable shows just how effectively these tasks were carried out.

BEST CINEMATOGRAPHY
The Lighthouse-Jarin Blashke

Shooting in Black & White has a tendency to be used as a crutch. Though it is unique in this day and age, not every film shot this way justifies its use. The Lighthouse absolutely and entirely owns it lack of color. The stark look, along with the nearly square aspect ratio, takes us back in time, a necessary feat for the audience to accept the film's oddities and superstitions. The lack of color would not matter, however, if the captured images themselves were not absolutely powerful. Equal parts horrifying, beautiful and lonely, The Lighthouse was easily the most visually powerful film of the year.

BEST FILM EDITING
Parasite-Jinmo Yang

One of the most important aspects of editing is keeping the proper pace of a film. This pacing can have a great impact on the film's ultimate tone. Though most films aim for a consistent tone, a film that intentionally changes its tone can provide a unique challenge for it's editor. It is then to Jinmo Yang's credit that Parasite's tonal shifts never take the viewer out of the film. The film flits frequently between comedy, drama, thriller and occasionally horror, and every step of the way the pacing shifts effortlessly, connecting all of the genres into one story. Yang's continuity, craft and overall coherence represent a remarkable feat of filmmaking, owing to Parasite's singular experience.

BEST ORIGINAL SONG

I'm Gonna Love Me Again-Rocketman

Music by Elton John, Lyrics by Bernie Taupin

Considering that Elton John is a still-working songwriter, it would have been a real missed opportunity not to have him write a new song for the film about his life. The song he and collaborator Bernie Taupin created does not disappoint. I'm Gonna Love Me Again, sung by John and Taron Egerton, the actor who plays him in the film, is a fun and energetic tune, which also ties into the struggles Elton John faced during his life. The song is representative of a man who has overcome his hardships, and come out the other side a better person, and he's going to enjoy his new life as much as he can.

BEST ORIGINAL SCORE

The Last Black Man in San Francisco

I for one hope that this film is the start of a long and wonderful career for composer Emile Mosseri. The score for the film lends a feeling of magical realism to the otherwise fully grounded film. The themes of loneliness, regret and hope all weave together in what is simultaneously a grand symphony and an intimate personal theme. The film and the score both enhance the other, tugging at heartstrings, inspiring imagination and taking you to a world that is familiar while also being new. Such is the power of a great score, and a brilliant new voice in film music.

BEST ADAPTED SCREENPLAY

A Beautiful Day in the Neighborhood-Noah Harpster & Micah Fitzerman-Blue

Inspired by the article "Can You Say... Hero" by Tom Junod

It would have been easy to turn a film about Fred Rogers into a standard birth-to-death biopic. Instead, Noah Harpster and Micah Fitzerman-Blue took the story in a different direction, one which no doubt Mr. Rogers himself would have approved of. The film itself is an episode of the show, of sorts, but for adults. A Beautiful Day in the Neighborhood is a parable meant to teach adults about the benefits of kindness and forgiveness, and how they can make the world a better and happier place. In doing so the film does not shy away from the harshness that can and does exist in the world, but rather shows how that does not preclude the benefits of rising above that harshness. A simple, but beautifully poignant script that was turned into a simple, yet beautifully poignant film.

BEST ORIGINAL SCREENPLAY

Parasite-Bong Joon-Ho and Jin Won-Han

Story by Bong Joon-Ho

Parasite is, at its core, a satirical thriller about class relations in the modern day. It is also an ensemble drama about families trying their best to stay together and live in the best circumstances possible. Every single character is fully developed. Likable yet flawed. The film is hysterical, occasionally horrifying and always thought provoking. Though tied fully into the social constructs present in South Korea, Parasite feels universally acceptable worldwide. Parasite is not only the best screenplay this year, it is one of the best ever committed to film.

BEST SUPPORTING ACTRESS

Thomasin McKenzie-Jojo Rabbit

The role of Elsa in Jojo Rabbit provides a unique challenge. She is a child thrown into a situation beyond her control, wherein she cannot truly be a child any longer. Her interactions with the titular Jojo show a young person who is scared, angry, playful, sad and lonely, occasionally all at the same time. A late 2nd act scene where she must interact with others puts all of these traits at the forefront, and shows just what a talent Thomasin McKenzie is. She shows a wisdom beyond her years in her performance, fully disappearing into this difficult role. 

BEST SUPPORTING ACTOR

Willem Dafoe-The Lighthouse

Sometimes it is great to see a nuanced performance, where the meat is revealed in small looks and inflections of tone of voice. That is not this performance. In The Lighthouse Willem Dafoe goes so far over the top that he comes crashing back down to Earth, exploding in a crater of sheer theatrical brilliance. He plays a larger than life character in a larger than life way. Dafoe chews on two-minute-long monologues the way some actors spit out one-liners. It's a wonderfully batshit performance, and watching a brilliant actor like Willem Dafoe give it 150% is one of the greatest joys of this year.

BEST LEADING ACTRESS

Lupita Nyong'o-Us

Creating a sympathetic hero with a dark side is a great achievement for any actor. Creating a terrifying and completely original villain, who manages to somehow have understandable goals is a great achievement for any actor. Playing both of these roles in the same film, most often at the same time playing opposite each other is an achievement that is so singularly special that I cannot off hand think of a single other time it has happened. Giving what is, in my opinion, THE performance of the year, Lupita Nyong'o expertly flips between two sides of the same coin, inspiring fear, compassion, hatred and intrigue. She has proved herself to be one of this generation's most consistently fascinating performers.

BEST LEADING ACTOR

Baykali Ganambarr-The Nightingale

Watching The Nightingale it is hard to believe that it is Baykali Ganambarr's first acting performance. His role is so genuine, his character so fully lived in, that one assumes he has grown up in front of the screen. His character is one not often seen, an Aboriginal native who has learned to deal with the trauma he has been put through his entire life. The way he bonds with co-lead Clare and learns to take back some measure of control of his life makes for an engrossing and emotionally powerful film, despite it's intense brutality.

BEST CASTING

The Last Black Man in San Francisco-Julia Kim

Great casting can come in many forms. While much attention is paid to a casting director who can bring several big names together, The Last Black Man in San Francisco's Julia Kim accomplishes arguably a more difficult feat: creating a pitch perfect cast made up almost entirely of unknowns. Though the lion's share of the focus is on Jimmie Fails and Jonathan Majors, the rest of the cast bring so much history and personality to their roles that each and every minor character feels like a living breathing human being who goes on with their life whenever the camera isn't pointing at them. In truth, Julia Kim could this award solely for the discovery of Jonathan Majors. His Montgomery Allen is an incredibly unique character, breathed a heartfelt and joyful life by Majors. His friendship with star Jimmie Fails never shows a single moment of falsehood, and sets a new standard for emotional male friendships in film. 

BEST DIRECTOR

Jennifer Kent-The Nightingale

Many films before have been made about human atrocities, but it is often difficult for directors to resist sensationalizing the awful acts committed. Jennifer Kent manages to avoid this impulse to a greater degree than I have ever seen before. The violence and abuse are shown very bluntly, in a matter-of-fact manner that does not allow any entertainment value or "coolness" to be found, no matter how hard one may try. The violence then feels very real and incredibly disturbing. It is not just disturbing for its own sake, though. Treating these difficult scenes for what they are leads to a powerful arc for its two leads, as Kent highlights their journey learning to take what joy, friendship and control they can, and to continue living past the horrible events that have plagued them. Though it is one of the most difficult films to sit through that has ever been made, it is ultimately an incredibly powerful and rewarding experience, that I truly believe no other director could have pulled off. 

BEST PICTURE

Parasite

Parasite is one of the most impressive films in years. Universally watchable, endlessly entertaining, deeply thought-provoking, and a powerhouse of acting, writing, directing, and all other crafts. It's simply unfair how brilliantly made and put together this film is. There is truly something here for everyone to enjoy, to the degree that I truly think just about every single person who sees this movie would like it. It is a film that sticks with you, that you become excited to tell people about. So please everybody reading this, watch this movie. You will not be disappointed!

2019 Spearie Award Nominations

BEST PICTURE
A Beautiful Day in the Neighborhood
The Last Black Man in San Francisco
The Nightingale
1917
Parasite

BEST DIRECTOR
Bong Joon Ho-Parasite
Robert Eggers-The Lighthouse
Jennifer Kent-The Nightingale
Sam Mendes-1917
Joe Talbot-The Last Black Man in San Francisco

BEST CASTING
Knives Out-Mary Vernieu
The Last Black Man in San Francisco-Julia Kim
Little Women-Kathy Driscoll and Francine Maisler
Marriage Story-Douglas Aibel and Francine Maisler
Parasite

BEST LEADING ACTOR
Baykali Ganambarr-The Nightingale
Robert Pattinson-The Lighthouse
Joaquin Phoenix-Joker
Matthew Rhys-A Beautiful Day in the Neighborhood
Adam Sandler-Uncut Gems

BEST LEADING ACTRESS
Ana De Armas-Knives Out
Aisling Franciosi-The Nightingale
Lupita Nyong'o-Us
Florence Pugh-Midsommar
Saoirse Ronan-Little Women

BEST SUPPORTING ACTOR
Willem Dafoe-The Lighthouse
Tom Hanks-A Beautiful Day in the Neighborhood
Shia Labeouf-Honey Boy
Jonathan Majors-The Last Black Man in San Francisco
Song Kang-Ho-Parasite

BEST SUPPORTING ACTRESS
Scarlett Johansson-Jojo Rabbit
Thomasin McKenzie-Jojo Rabbit
Florence Pugh-Little Women
Margot Robbie-Once Upon a Time in Hollywood
Zhao Shuzhen-The Farewell

BEST ORIGINAL SCREENPLAY
Knives Out-Rian Johnson
The Last Black Man in San Francisco-Joe Talbot, Jimmie Fails and Rob Richerd
The Nightingale-Jennifer Kent
Parasite-Bong Joon-Ho and Jim Won-Han
Uncut Gems-Ronald Bronstein & Josh Safdie & Benny Safdie

BEST ADAPTED SCREENPLAY
A Beautiful Day in the Neighborhood-Noah Harpster & Micah Fitzerman-Blue
Deadwood: The Movie-David Milch
El Camino: A Breaking Bad Movie-Vince Gilligan
Jojo Rabbit-Taika Waititi
Little Women-Greta Gerwig

BEST ORIGINAL SCORE
Honey Boy-Alex Somers
The Last Black Man in San Francisco-Emile Mosseri
The Lighthouse-Mark Korven
Little Women-Alexandre Desplat
1917-Thomas Newman

BEST ORIGINAL SONG
The Buddi Song-Child's Play-Bear Mcreary & Tyler Burton Smith
I Can't Let You Throw Yourself Away-Toy Story 4-Randy Newman
I'm Gonna Love Me Again-Rocketman-Elton John and Bernie Taupin
Never Too Late-The Lion King-Elton John & Tim Rice
Spirit-The Lion King-Ilya Salmanzadeh, Labrinth, and Beyonce

BEST FILM EDITING
Ford v. Ferrari-Andrew Buckland, Michael McCusker, and Dirk Westerveld
Knives Out-Bob Ducsay
The Nightingale-Simon Njoo
Parasite-Jinmo Yang
Uncut Gems-Ronald Bronstein and Benny Safdie

BEST CINEMATOGRAPHY
Ad Astra-Hoyte van Hoytema
The Last Black Man in San Francisco-Adam Newport-Berra
The Lighthouse-Jarin Blaschke
Midsommar-Pawel Pogorzelski
1917-Roger Deakins

BEST PRODUCTION DESIGN
Ad Astra-Kevin Thompson
The Lighthouse-Craig Lathrop
1917-Dennis Gassner
Once Upon a Time in Hollywood-Barbara Ling
Parasite-Lee Ha-Jun

BEST COSTUME DESIGN
Dolemite is My Name-Ruth E. Carter
The King-Jane Petrie
Little Women-Jacqueline Durran
Once Upon a Time in Hollywood-Arianne Phillips
Rocketman-Julian Day

BEST MAKEUP AND HAIRSTYLING
Deadwood: The Movie-Lana Horochowski and Melissa Yonkey
The King-Alessandro Bertolazzi, Ivan Poharnok
The Lighthouse-Linda Flynn, Traci Loader, and Adrien Morot
The Nightingale-Nikki Gooley, Larry Van Duynhoven, and Sheldonn Wade
Us-Camille Friend and Scott Wheeler

BEST SOUND MIXING
Ad Astra-Tom Johnson, Gary Rydstrom, and Mark Ulano
El Camino: A Breaking Bad Movie-Larry Benjamin, Phillip W. Palmer and Kevin Valentine
Ford v. Ferrari-David Giammarco, Paul Massey, Steven Morrow, and Jay Wilkinson
1917-Michael Fentum, Scott Milan, Mark Taylor and Stuart Wilson
Star Wars: The Rise of Skywalker-David Acord, Andy Nelson, Christopher Scarabosio, and Stuart Wilson

BEST SOUND EDITING
Ad Astra-Gary Rydstrom and Brad Semenoff
Ford v. Ferrari-David Giammarco, Eric A. Norris, Donald Sylvester, and Jay Wilkinson
The Lighthouse-Mariusz Glabinski, Filipe Messeder, and Damien Volpe
1917-Michael Fentum, James Harrison and Oliver Tarney
Star Wars: The Rise of Skywalker-David Acord, Justin Doyle, and Matthew Wood

BEST VISUAL EFFECTS
Ad Astra-Scott R. Fisher and Allen Maris
Alita: Battle Angel-Bob Trevino, Richard E. Hollander, Philip Leonhardt, Eric Saindon, and Charles Tait
Avengers: Endgame-Naama Felipe, Daniel Sudick, Dan Deleeuw, Philip Leonhardt, and Kelly Port
Captain Marvel-Daniel Sudick, Paul Butterworth, and Christopher Townsend
Midsommar-Gabor Kiszelly and Gergely Takacs

BEST STUNT CHOREOGRAPHY
Ford v. Ferrari-Robert Nagle and Brian Simpson
John Wick: Chapter 3 - Parabellum-Jonathan Eusebio, Scott Rogers and Cale Schultz
The King-Steve Dent and Jan Petrina
1917-Ben Cooke
Us-John Donohue and Mark Vanselow

2019 Oscar Predictions

BEST PICTURE

The Irishman

Jojo Rabbit

1917

Once Upon a Time in Hollywood

Parasite

IF 6… Joker

IF 7… Marriage Story

IF 8… Little Women

IF 9… Ford v. Ferrari

IF 10… Knives Out

BEST DIRECTOR

Greta Gerwig-Little Women

Bong Joon Ho-Parasite

Sam Mendes-1917

Martin Scorsese-The Irishman

Quentin Tarantino-Once Upon a Time in Hollywood

BEST ACTOR

Antonio Banderas-Pain & Glory

Leonardo DiCaprio-Once Upon a Time in Hollywood

Adam Driver-Marriage Story

Taron Egerton-Rocketman

Joaquin Phoenix-Joker

BEST ACTRESS

Awkwafina-The Farewell

Scarlett Johansson-Marriage Story

Saoirse Ronan-Little Women

Charlize Theron-Bombshell

Renee Zellweger-Judy

BEST SUPPORTING ACTOR

Tom Hanks-A Beautiful Day in the Neighborhood

Song Kang Ho-Parasite

Al Pacino-The Irishman

Joe Pesci-The Irishman

Brad Pitt-Once Upon a Time in Hollywood

BEST SUPPORTING ACTRESS

Annette Bening-The Report

Laura Dern-Marriage Story

Jennifer Lopez-Hustlers

Florence Pugh-Little Women

Margot Robbie-Bombshell

BEST ORIGINAL SCREENPLAY

Knives Out

Marriage Story

1917

Once Upon a Time in Hollywood

Parasite

BEST ADAPTED SCREENPLAY

A Beautiful Day in the Neighborhood

The Irishman

Jojo Rabbit

Little Women

The Two Popes

BEST ORIGINAL SCORE

Joker

Little Women

Marriage Story

1917

Star Wars: The Rise of Skywalker

BEST ORIGINAL SONG

Glasgow-Wild Rose

I’m Gonna Love Me Again-Rocketman

Into the Unknown-Frozen 2

Speechless-Aladdin

Stand Up-Harriet

BEST FILM EDITING

Ford v. Ferrari

The Irishman

Joker

Once Upon a Time in Hollywood

Parasite

BEST CINEMATOGRAPHY

Joker

The Lighthouse

1917

Once Upon a Time in Hollywood

Portrait of a Lady on Fire

BEST PRODUCTION DESIGN

The Irishman

Jojo Rabbit

Little Women

1917

*Once Upon a Time in Hollywood

BEST COSTUME DESIGN

Dolemite is My Name

Jojo Rabbit

Little Women

Once Upon a Time in Hollywood

Rocketman

BEST MAKEUP AND HAIRSTYLING

Bombshell

Joker

Judy

Maleficent: Mistress of Evil

Rocketman

BEST SOUND MIXING

Ford v. Ferrari

Joker

1917

Once Upon a Time in Hollywood

Rocketman

BEST SOUND EDITING

Ford v. Ferrari

Joker

1917

Once Upon a Time in Hollywood

Star Wars: The Rise of Skywalker

BEST VISUAL EFFECTS

Alita: Battle Angel

Avengers: Endgame

The Lion King

1917

Star Wars: The Rise of Skywalker

BEST ANIMATED FEATURE

How to Train Your Dragon: The Hidden World

I Lost My Body

Missing Link

Toy Story 4

Weathering With You

BEST INTERNATIONAL FEATURE

Atlantics-Senegal

Les Miserables-France

Pain & Glory-Spain

Parasite-South Korea

Those Who Remained-Hungary

BEST DOCUMENTARY FEATURE

American Factory

Apollo 11

Honeyland

Maiden

One Child Nation

BEST ANIMATED SHORT

Hair Love

Hors Piste

Kitbull

The Physics of Sorrow

Sister

BEST DOCUMENTARY SHORT

After Maria

Fire in Paradise

In the Absence

Learning to Skateboard in a Warzone

Stay Close

BEST LIVE ACTION SHORT

Brotherhood

Little Hands

The Neighbors’ Window

Refugee

A Sister