The 90th Oscars®, hosted by Jimmy Kimmel, will be held on Sunday, March 4, 2018, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 6:30 p.m. ET/3:30 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.
Performance by an actor in a leading role
- Timothée Chalamet in “Call Me by Your Name”
- Daniel Day-Lewis in “Phantom Thread”
- Daniel Kaluuya in “Get Out”
- Gary Oldman in “Darkest Hour”
- Denzel Washington in “Roman J. Israel, Esq.”
Performance by an actor in a supporting role
- Willem Dafoe in “The Florida Project”
- Woody Harrelson in “Three Billboards outside Ebbing, Missouri”
- Richard Jenkins in “The Shape of Water”
- Christopher Plummer in “All the Money in the World”
- Sam Rockwell in “Three Billboards outside Ebbing, Missouri”
Performance by an actress in a leading role
- Sally Hawkins in “The Shape of Water”
- Frances McDormand in “Three Billboards outside Ebbing, Missouri”
- Margot Robbie in “I, Tonya”
- Saoirse Ronan in “Lady Bird”
- Meryl Streep in “The Post”
Performance by an actress in a supporting role
- Mary J. Blige in “Mudbound”
- Allison Janney in “I, Tonya”
- Lesley Manville in “Phantom Thread”
- Laurie Metcalf in “Lady Bird”
- Octavia Spencer in “The Shape of Water”
Best animated feature film of the year
- “The Boss Baby” Tom McGrath and Ramsey Naito
- “The Breadwinner” Nora Twomey and Anthony Leo
- “Coco” Lee Unkrich and Darla K. Anderson
- “Ferdinand” Carlos Saldanha
- “Loving Vincent” Dorota Kobiela, Hugh Welchman and Ivan Mactaggart
Achievement in cinematography
- “Blade Runner 2049” Roger A. Deakins
- “Darkest Hour” Bruno Delbonnel
- “Dunkirk” Hoyte van Hoytema
- “Mudbound” Rachel Morrison
- “The Shape of Water” Dan Laustsen
Achievement in costume design
- “Beauty and the Beast” Jacqueline Durran
- “Darkest Hour” Jacqueline Durran
- “Phantom Thread” Mark Bridges
- “The Shape of Water” Luis Sequeira
- “Victoria & Abdul” Consolata Boyle
Achievement in directing
- “Dunkirk” Christopher Nolan
- “Get Out” Jordan Peele
- “Lady Bird” Greta Gerwig
- “Phantom Thread” Paul Thomas Anderson
- “The Shape of Water” Guillermo del Toro
Best documentary feature
- “Abacus: Small Enough to Jail” Steve James, Mark Mitten and Julie Goldman
- “Faces Places” Agnès Varda, JR and Rosalie Varda
- “Icarus” Bryan Fogel and Dan Cogan
- “Last Men in Aleppo” Feras Fayyad, Kareem Abeed and Søren Steen Jespersen
- “Strong Island” Yance Ford and Joslyn Barnes
Best documentary short subject
- “Edith+Eddie” Laura Checkoway and Thomas Lee Wright
- “Heaven Is a Traffic Jam on the 405” Frank Stiefel
- “Heroin(e)” Elaine McMillion Sheldon and Kerrin Sheldon
- “Knife Skills” Thomas Lennon
- “Traffic Stop” Kate Davis and David Heilbroner
Achievement in film editing
- “Baby Driver” Paul Machliss and Jonathan Amos
- “Dunkirk” Lee Smith
- “I, Tonya” Tatiana S. Riegel
- “The Shape of Water” Sidney Wolinsky
- “Three Billboards outside Ebbing, Missouri” Jon Gregory
Best foreign language film of the year
- “A Fantastic Woman” Chile
- “The Insult” Lebanon
- “Loveless” Russia
- “On Body and Soul” Hungary
- “The Square” Sweden
Achievement in makeup and hairstyling
- “Darkest Hour” Kazuhiro Tsuji, David Malinowski and Lucy Sibbick
- “Victoria & Abdul” Daniel Phillips and Lou Sheppard
- “Wonder” Arjen Tuiten
Achievement in music written for motion pictures (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
Achievement in music written for motion pictures (Original song)
- “Mighty River” from “Mudbound”
- Music and Lyric by Mary J. Blige, Raphael Saadiq and Taura Stinson
- “Mystery Of Love” from “Call Me by Your Name”
- Music and Lyric by Sufjan Stevens
- “Remember Me” from “Coco”
- Music and Lyric by Kristen Anderson-Lopez and Robert Lopez
- “Stand Up For Something” from “Marshall”
- Music by Diane Warren; Lyric by Lonnie R. Lynn and Diane Warren
- “This Is Me” from “The Greatest Showman”
- Music and Lyric by Benj Pasek and Justin Paul
Best motion picture of the year
- “Call Me by Your Name” Peter Spears, Luca Guadagnino, Emilie Georges and Marco Morabito, Producers
- “Darkest Hour” Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten and Douglas Urbanski, Producers
- “Dunkirk” Emma Thomas and Christopher Nolan, Producers
- “Get Out” Sean McKittrick, Jason Blum, Edward H. Hamm Jr. and Jordan Peele, Producers
- “Lady Bird” Scott Rudin, Eli Bush and Evelyn O’Neill, Producers
- “Phantom Thread” JoAnne Sellar, Paul Thomas Anderson, Megan Ellison and Daniel Lupi, Producers
- “The Post” Amy Pascal, Steven Spielberg and Kristie Macosko Krieger, Producers
- “The Shape of Water” Guillermo del Toro and J. Miles Dale, Producers
- “Three Billboards outside Ebbing, Missouri” Graham Broadbent, Pete Czernin and Martin McDonagh, Producers
Achievement in production design
- “Beauty and the Beast” Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
- “Blade Runner 2049” Production Design: Dennis Gassner; Set Decoration: Alessandra Querzola
- “Darkest Hour” Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
- “Dunkirk” Production Design: Nathan Crowley; Set Decoration: Gary Fettis
- “The Shape of Water” Production Design: Paul Denham Austerberry; Set Decoration: Shane Vieau and Jeff Melvin
Best animated short film
- “Dear Basketball” Glen Keane and Kobe Bryant
- “Garden Party” Victor Caire and Gabriel Grapperon
- “Lou” Dave Mullins and Dana Murray
- “Negative Space” Max Porter and Ru Kuwahata
- “Revolting Rhymes” Jakob Schuh and Jan Lachauer
Best live action short film
- “DeKalb Elementary” Reed Van Dyk
- “The Eleven O’Clock” Derin Seale and Josh Lawson
- “My Nephew Emmett” Kevin Wilson, Jr.
- “The Silent Child” Chris Overton and Rachel Shenton
- “Watu Wote/All of Us” Katja Benrath and Tobias Rosen
Achievement in sound editing
- “Baby Driver” Julian Slater
- “Blade Runner 2049” Mark Mangini and Theo Green
- “Dunkirk” Richard King and Alex Gibson
- “The Shape of Water” Nathan Robitaille and Nelson Ferreira
- “Star Wars: The Last Jedi” Matthew Wood and Ren Klyce
Achievement in sound mixing
- “Baby Driver” Julian Slater, Tim Cavagin and Mary H. Ellis
- “Blade Runner 2049” Ron Bartlett, Doug Hemphill and Mac Ruth
- “Dunkirk” Mark Weingarten, Gregg Landaker and Gary A. Rizzo
- “The Shape of Water” Christian Cooke, Brad Zoern and Glen Gauthier
- “Star Wars: The Last Jedi” David Parker, Michael Semanick, Ren Klyce and Stuart Wilson
Achievement in visual effects
- “Blade Runner 2049” John Nelson, Gerd Nefzer, Paul Lambert and Richard R. Hoover
- “Guardians of the Galaxy Vol. 2” Christopher Townsend, Guy Williams, Jonathan Fawkner and Dan Sudick
- “Kong: Skull Island” Stephen Rosenbaum, Jeff White, Scott Benza and Mike Meinardus
- “Star Wars: The Last Jedi” Ben Morris, Mike Mulholland, Neal Scanlan and Chris Corbould
- “War for the Planet of the Apes” Joe Letteri, Daniel Barrett, Dan Lemmon and Joel Whist
Adapted screenplay
- “Call Me by Your Name” Screenplay by James Ivory
- “The Disaster Artist” Screenplay by Scott Neustadter & Michael H. Weber
- “Logan” Screenplay by Scott Frank & James Mangold and Michael Green; Story by James Mangold
- “Molly’s Game” Written for the screen by Aaron Sorkin
- “Mudbound” Screenplay by Virgil Williams and Dee Rees
Original screenplay
- “The Big Sick” Written by Emily V. Gordon & Kumail Nanjiani
- “Get Out” Written by Jordan Peele
- “Lady Bird” Written by Greta Gerwig
- “The Shape of Water” Screenplay by Guillermo del Toro & Vanessa Taylor; Story by Guillermo del Toro
“Three Billboards outside Ebbing, Missouri” Written by Martin McDonagh
directed by Prashanth Neel, brings a bold and gritty spectacle to the big screen, marking a triumphant return for Prabhas in an action-heavy role. Known for his high-energy, raw style (seen in KGF), Neel continues his signature approach here, blending intense action scenes with grandiose settings reminiscent of epic sagas like Game of Thrones. The film revolves around Deva (Prabhas), a powerful yet calm figure with a complex past, and his involvement in a politically charged power struggle with Prithviraj Sukumaran’s character Varadha. This layered storyline introduces us to the fictitious city of Khansar, where betrayals and power dynamics keep viewers on edge.
Critics generally appreciate Prabhas’s magnetic performance, noting that he captures the larger-than-life heroism he’s celebrated for since Baahubali. His portrayal, paired with intense fight choreography, keeps the audience engaged, particularly during standout sequences that elevate the film’s dramatic intensity. Prithviraj’s character as Deva’s friend adds an intriguing dynamic, though Shruti Haasan’s role feels underused. While fans of action-packed cinema and Prabhas’s iconic style will enjoy the exhilarating visuals and powerful cinematography, some critics feel the plot loses momentum in the second half, with multiple subplots that dilute its emotional depth. The story is intentionally left open-ended, setting the stage for Salaar: Part 2.
Overall, Salaar is an ambitious action film that will satisfy fans of Prabhas and high-octane spectacles. However, those seeking a tight narrative or deep emotional connections might find it lacking. I’d rate it 3.5 out of 5 stars—a solid experience for action enthusiasts, with room for a more focused storyline in its sequel.
Review of Kalki 2898 AD on Netflix
Rating: (4/5)
Kalki 2898 AD, directed by Nag Ashwin, is a visually ambitious sci-fi film featuring an ensemble of Indian cinema legends, including Prabhas, Amitabh Bachchan, and Deepika Padukone. The film is set in a dystopian future with a storyline that weaves mythology and science fiction, creating a unique cinematic experience for viewers.
The film’s narrative unfolds in a futuristic society where technology and ancient themes intersect. It begins with an immersive setup that introduces us to Prabhas’ character, Bhairava, who grapples with complex moral and existential questions in a world marked by political and ethical turmoil. Although the pacing can feel slow in parts, especially as it establishes the mythological underpinnings, the intensity and scope build significantly as the story progresses.
One of the most captivating aspects is the stunning visual effects. The production team, with a budget reportedly over 400 crore INR, utilized advanced CGI to craft expansive landscapes, dramatic space battles, and futuristic cityscapes that resemble scenes from Hollywood sci-fi giants. The action sequences, particularly those featuring Bachchan, stand out with their thrilling choreography and careful dramatic build-up. These sequences balance between traditional Indian cinema stylings and Hollywood’s polished sci-fi tropes.
While Kalki 2898 AD relies heavily on genre conventions, it manages to bring a fresh twist by blending mythological symbolism with modern sci-fi elements. However, some may find the film’s narrative occasionally predictable, and the focus on visual spectacle occasionally overshadows character development. Yet, the powerhouse performances from the lead cast, particularly Bachchan and Padukone, provide the emotional depth needed to keep audiences engaged.
In summary, Kalki 2898 AD is an impressive venture into the sci-fi genre for Indian cinema, successfully balancing myth with high-tech fantasy. While not without flaws, it’s an enjoyable and bold cinematic experience that’s worth a watch for fans of both Indian mythology and science fiction.
Gladiator 2 builds on the legacy of its predecessor, delivering a captivating story that honors the original while forging a compelling new path. The cast shines in their roles, with Paul Mescal delivering a powerhouse performance as Lucius, the now-grown son of Maximus. Mescal captures a blend of vulnerability and strength, embodying a character driven by both honor and revenge. Alongside him, Denzel Washington commands the screen, adding gravitas and depth to a key supporting role
The screenplay is a triumph, keeping the audience engaged at every turn. While the overarching story gives you a sense of where it’s headed, the journey remains unpredictable, and packed with twists. The film balances themes of legacy, vengeance, and redemption, weaving them seamlessly into the narrative.
Action sequences, particularly the gladiatorial combat, are visually pleasing. The fights are brutal and visceral, with just enough gore to feel authentic without veering into excess. Visually, Gladiator 2 is stunning. The production design, cinematography, and score come together to create a visceral and immersive experience.
As a follow-up to a beloved classic, Gladiator 2 meets expectations, proving to be both a thrilling spectacle and a worthy successor. It’s a 9/10—a tale of honor and legacy.
Salaar: Part 1 – Ceasefire
Review of Kalki 2898 AD on Netflix
Gladiator 2 Builds On The Legacy Of Its Predecessor,
Wicked Soars As A Dazzling Spectacle
Movie Review: Devara Part 1 (Streaming on Netflix)
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