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      ‘Bliss’ Review: A High Concept, Under-Designed

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘Bliss’ Review: A High Concept, Under-DesignedNot even the charisma of Owen Wilson and Salma Hayek could energize this science-fiction film about telekinetic drifters.Owen Wilson and Salma Hayek in “Bliss.”Credit…Hilary Bronwyn Gayle/Amazon StudiosFeb. 4, 2021, 7:00 a.m. ET”Bliss”Directed by Mike CahillDrama, Romance, Sci-FiR1h 43mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Greg (Owen Wilson) begins the science-fiction film “Bliss” at the end of his rope. He’s in the middle of a divorce and has just been fired from his job when he meets a mysterious woman at a bar. Her name is Isabel (Salma Hayek), and with a wave of her wrist, she shows Greg that she has a telekinetic ability to manipulate reality.Isabel promises a bewildered Greg that the world he believes to be real is a simulation. They are the only real people among fakes.“Bliss” doesn’t try to poke holes in Isabel’s reality-altering claims; it’s plain that Isabel’s powers have material effects. She shows Greg how to light fire at a distance, how to crumple a car with his mind — and the writer and director Mike Cahill creates practical effects that look real enough to confirm Isabel’s story.[embedded content]Cahill previously explored the idea of multiple universes in his film, “Another Earth,” but in this movie, he flounders with creating a sensory experience to match the story’s cerebral ideas. Greg and Isabel gallivant around a dingy, dark Los Angeles and entertain dreams of the better, cleaner, realer world that lies outside the simulation. But when Cahill gets a chance to show the audience what that true home might look like, it’s as color-corrected, underlit and under-designed as the reality they abandoned.There may be a way to justify the shoddiness of the movie’s images with a high-concept explanation — maybe it’s intentional that no matter what reality Greg and Isabel occupy, it looks grubby, flimsy and fake. But “Bliss” fails to engage the senses, resulting in cinematic disappointment.BlissRated R for drug use as a metaphor, language and brief sexual content. Running time: 1 hour 43 minutes. Watch on Amazon.AdvertisementContinue reading the main story More

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      ‘Rams’ Review: Ailing Sheep and Quirky Characters

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘Rams’ Review: Ailing Sheep and Quirky CharactersThis comedy-drama starring Sam Neill, Michael Caton and Miranda Richardson depicts a catastrophe for a farming community in Western Australia.Sam Neill in “Rams.”Credit…Samuel Goldwyn FilmsFeb. 4, 2021, 7:00 a.m. ET”Rams”Directed by Jeremy SimsAdventure, Comedy, DramaPG-131h 58mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.The rough, dirty life of Australian sheep farmers would seem an unlikely topic to yield much in the way of cinematic lyricism. Especially in a narrative involving sheep actually dying of a devastating disease. Nevertheless, “Rams,” rooted in a 2016 Icelandic movie of the same name, has its pastoral moments (mostly in its breathtaking views of Western Australian landscapes), not to mention raucous comedy.The screenwriter Jules Duncan’s narrative, given a hemispheric switch from the Grimur Hákonarson original, is not generically unfamiliar. It’s a story of brothers at odds who are forced, after much resistance, to become brothers in arms.Colin (Sam Neill), a taciturn type, shares land but not much else with his older brother, Les (Michael Caton), an angry type who’s more voluble than Colin only in that he likes to cuss people out. They live and work on two adjacent plots, which were once owned as one by their father. Their rams are of a special breed and, as a contest at the movie’s opening attests, are invariably the envy of the region.[embedded content]Colin notices a problem with one of the prize specimens. A friendly local veterinarian (Miranda Richardson) confirms that there’s a rare but catastrophic disease at work. All the ovine beasts in the vicinity have to be liquidated, and the area quarantined for a couple of years.Colin isn’t having it, and he secretes a few sheep in his house. Soon Les, with whom he hasn’t spoken in decades, gets wind of this — literally, as the odor increasingly attaches itself to and wafts from Colin’s place. Much of the movie’s comedy derives from Colin’s futile efforts to keep his animals hidden. And his new alliance with Les comes from what they need to do to keep those beasts alive.Directed with a genial breeziness by Jeremy Sims, the movie negotiates emotional downshift and uplift with confidence. Some of the characterizations are unpredictably quirky — Les’s enthusiasm for the 1970s hard rock group Humble Pie is unexpected. The main pleasures of “Rams,” though, come from the watching the three veteran lead actors play their eccentricities out.RamsRated PG-13. Running time: 1 hour 55 minutes. In theaters and on Apple TV, Vudu and other streaming platforms and pay TV operators. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More

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      ‘Falling’ Review: Father and Son Reunion

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main storyCritic’s Pick‘Falling’ Review: Father and Son ReunionViggo Mortensen writes, directs and stars in this lacerating drama about a son dealing with his father’s mental decline.Lance Henriksen and Viggo Mortensen in “Falling.”Credit…Brendan Adam-Zwelling/Perceval Pictures/Quiver DistributionFeb. 4, 2021, 7:00 a.m. ETFallingNYT Critic’s PickDirected by Viggo MortensenDramaR1h 52mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.The dementia drama is on something of an upswing, and recently actors like Anthony Hopkins, Bruce Dern and Javier Bardem have joined the growing ranks of performers eager to portray a fragmenting mind.Of these, Lance Henriksen’s work in “Falling” might be the most brutally demanding, and the hardest to watch. As the foul-tempered, bigoted Willis, the actor is a weeping wound of intolerance and invective. Fully committing to dialogue rarely heard outside of scabrous comedies, Henriksen is the incendiary heart of a movie that ultimately proves more involving — and rather more complicated — than we expect.We meet Willis during a tantrum on an airplane. His middle-aged son, John (Viggo Mortensen, in his writing and directing debut) is bringing him to Los Angeles to house-hunt. Willis, no longer able to manage his beloved farm in upstate New York, has reluctantly agreed to move closer to John and John’s sister, Sarah (Laura Linney). In the meantime, he will stay with John and his husband, Eric (Terry Chen), and their young daughter (Gabby Velis). Brace for the homophobic slurs.[embedded content]Extensive flashbacks reveal that Willis has always had a mean streak (“I’m sorry I brought you into this world, so you could die,” are some of his earliest words to the infant John), but illness and the early stages of senility have made him monstrous. Somehow, though, Henriksen lets us see the loneliness and fear that gnaw at the edges of Willis’s anger — and help explain why John responds to his father’s abuse with such calm resignation. The film, though, is not without its comic moments: I’ll go a long way to see David Cronenberg play a proctologist.A small movie with outsized philosophical ambitions, “Falling” doesn’t go down easily. The nuanced performance of the Icelandic actor Sverrir Gudnason, who plays the younger Willis, is crucial, exposing the volatility and subdued menace that has alienated two wives and caused untold damage to his children. Some scenes scrape your senses like sandpaper, while others are so tender they’re almost destabilizing. Together, they shape a picture that’s tragically specific, yet more comfortable with mystery than some viewers might prefer.Though not entirely autobiographical, “Falling” is informed by Mortensen’s memories of caring for several family members stricken by dementia. The result is a movie keenly aware of the effort involved in reconciling the parent we have with the one we might have wished for.FallingRated R for sexism, racism, homophobia and terrible table manners. Running time: 1 hour 52 minutes. Rent or buy on Google Play, Vudu and other streaming platforms and pay TV operators.AdvertisementContinue reading the main story More

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      ‘Malcolm & Marie’ Review: Fight Flub

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘Malcolm & Marie’ Review: Fight FlubA gorgeous Hollywood couple has an extended, exhausting argument in this claustrophobic example of pandemic filmmaking from Netflix.John David Washington and Zendaya in “Malcolm & Marie.”Credit…Dominic Miller/NetflixFeb. 4, 2021, 7:00 a.m. ETMalcolm & MarieDirected by Sam LevinsonDrama, RomanceR1h 46mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.A movie of dueling monologues and competing grievances, Sam Levinson’s “Malcolm & Marie” traps us inside the luxury rental and dysfunctional relationship of two enormously privileged, fiercely self-involved people.The mood is so depressingly combative that the elation and grace of the opening scene feels like an unfulfilled promise. As the golden beats of James Brown’s “Down and Out in New York City” flood the soundtrack, Malcolm (John David Washington), a rising-star filmmaker, dances exuberantly across his living-room. He and his girlfriend, Marie (Zendaya), have just returned from a successful premiere, and he’s high on acclaim and his own virtuosity.His peacocking, however, irritates Marie, who heads for the bathroom in a sulk. A former drug addict whose grueling experiences inspired Malcolm’s film, Marie is about to unload a wealth of resentment on her unsuspecting partner. First, though, she’ll have to listen to him, his joy evaporated, complain about critics who define him by his Blackness — a justifiable loathing of categorization that doesn’t prevent him, later in the film, from singling out one female Los Angeles Times critic for special scorn.That rant, an almost 10-minute scream-and-stomp tirade against, in part, the inadequacies of film criticism, isn’t the movie’s lowest point, only its most exhausting. (In Levinson’s script, the couple’s relationship woes are constantly competing with industry-related whining.) Malcolm may or may not be a megaphone for his director’s personal gripes, but Washington, a charismatically intense and supple performer, is ill-served by speeches that have the cadence and calculation of acting-school exercises.Zendaya, for her part, fares slightly better with a character who is more willing to be vulnerable. When Malcolm cruelly tells Marie she’s not special, listing all the damaged women he has known who could have served as inspiration, she is touchingly wounded. Yet she also senses the insecurities behind his swaggering egotism, smartly pointing out — given his educated, upper-middle-class background — the artifice of his underdog posturing.Fighting the metronomic beats of the movie’s equal-time speeches, Zendaya (who has the advantage of working with the crew and creator of her HBO show, “Euphoria”) allows us to glimpse the suffering that brought Marie to this point, and to this man. And while Marcell Rev’s high-contrast, black-and-white photography is often quite lovely — in one surreal shot, trees outside the home rear up like twisted, fairy-tale villains — only occasionally do his camera movements ease the claustrophobia of the stage-like setting.A stylized stab at pandemic filmmaking, “Malcolm & Marie,” is at once mildly admirable and deeply unlikable. Beneath the film’s Old-Hollywood gleam and self-conscious sniping, serious questions are raised, only to lie fallow. What obligation, if any, does an artist have to their muse? And how do we separate an artist’s work from their ethnicity?“I promise you, nothing productive is going to be said tonight,” Marie says near the beginning of the movie. Sadly, she’s telling the truth.Malcolm & MarieRated R for foul language, crude foreplay and toxic egotism. Running time: 1 hour 46 minutes. Watch on Netflix.AdvertisementContinue reading the main story More

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      ‘Son of the South’ Review: Tale of an Alabama Activist

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘Son of the South’ Review: Tale of an Alabama ActivistSometimes absorbing, sometimes mortifyingly tone-deaf, the film dramatizes the memoir of the white civil rights figure Bob Zellner.Lucas Till as Bob Zellner in “Son of the South.”Credit…Vertical EntertainmentFeb. 4, 2021, 7:00 a.m. ETSon of the SouthDirected by Barry Alexander BrownBiography, DramaPG-131h 45mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.“Son of the South” gets off to an appalling start, with a man being dragged by two others, and then a freeze frame, accompanied by a voice-over: “That’s me, Bob Zellner.” As the meme goes, we’re probably wondering how he ended up in this situation — being dragged toward a noose. That Bob is white and not Black is presumably supposed to make the use of this glib and much-parodied device permissible in this context. But given that lynchings have historically been directed by whites against African-Americans, the introduction is mortifyingly tone-deaf.[embedded content]“Five months ago, life was simpler,” Bob explains, in another line so overworked it should have been cut. The screenplay, by the director, Barry Alexander Brown, a longtime editor for Spike Lee, somewhat eases up on the clichés from there. Based on the memoir that Zellner wrote with his fellow civil rights activist Constance Curry, the film tells the story of how Zellner (Lucas Till), the grandson of a Klansman (a late role for Brian Dennehy, who died in April), became an active figure in the civil rights movement in early-1960s Alabama, eventually becoming the Student Nonviolent Coordinating Committee’s first white field secretary.A biopic that foregrounds the perspective of a white Alabamian — who was treated violently for his activism but could protest from a position of relative safety — yet turns John Lewis (Dexter Darden) and other Black activists (including a love interest played by Lex Scott Davis) into supporting characters is an ideologically fraught proposition in 2021. Accepted on its terms, the film does a reasonably absorbing job of dramatizing how Zellner’s convictions strengthened, pulling him away from the security of inaction.Son of the SouthRated PG-13. Racist violence and language. Running time: 1 hour 45 minutes. In theaters and on Google Play, FandangoNow and other streaming platforms and pay TV operators. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More

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      ‘Two of Us’ Review: Thwarted Love

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      #masthead-section-label, #masthead-bar-one { display: none }What to WatchBest Movies on NetflixBest of Disney PlusBest of Amazon PrimeBest Netflix DocumentariesNew on NetflixAdvertisementContinue reading the main storySupported byContinue reading the main story‘Two of Us’ Review: Thwarted LoveAn older lesbian couple is met with unexpected devastation in this aching romantic drama by Filippo Meneghetti.Martine Chevallier and Barbara Sukowa in “Two of Us.”Credit…Magnolia PicturesFeb. 4, 2021, 7:00 a.m. ETTwo of UsDirected by Filippo MeneghettiDrama, Romance1h 39mFind TicketsWhen you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.Nina (the distinguished German actress Barbara Sukowa) and Madeleine (Martine Chevalier) have waited decades to love one another freely. At the beginning of “Two of Us,” the retired women — their romance long hidden under the guise of friendship — prepare to leave France for new beginnings in Rome. Timid, dutiful Madeleine, a widowed mother whose nickname is “Mado,” must first come out to her children before realizing her dream, but tragedy strikes before she can speak her truth. A stroke leaves Mado speechless and paralyzed, throwing the couple even deeper into the closet during already devastating times.Filippo Meneghetti’s pulsing romantic drama forges heartache and intrigue out of Nina’s tireless efforts to connect with her impaired lover. Played with palpable desperation and ferocity by Sukowa (“Hannah Arendt,” “Lola”), Nina is relegated to the status of friendly neighbor by Mado’s unsuspecting children. Yet she craftily maneuvers her way into Mado’s life with a tenacity that never overshadows her pain.[embedded content]The film’s us-against-them dynamic inflates the injustice of the situation, injecting rage and pathos into this tale of thwarted love at the cost of its supporting players: a frumpy caregiver with North African roots makes for a cheap punching bag, and Mado’s thinly-drawn children — clinging to the fantasy of their parents’ true love — prove disproportionately villainous.Despite these contrivances, and a climax that veers into maudlin territory, Meneghetti and the cinematographer Aurélien Marra beautifully summon the ache of queer desire. Through the use of symbolic peepholes, eavesdropping and dark rooms that provide cover for whispered assurances of devotion, “Two of Us” succeeds as a stealthy depiction of lesbian erotics, one that mirrors the inhibitions of a generation.Two of UsNot rated. In French, with subtitles. Running time: 1 hour 39 minutes. In theater and on virtual cinemas. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters.AdvertisementContinue reading the main story More

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      We Live in Disastrous Times. Why Can’t Disaster Movies Evolve?

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyScreenlandWe Live in Disastrous Times. Why Can’t Disaster Movies Evolve?Credit…Photo illustration by Najeebah Al-GhadbanFeb. 4, 2021, 5:00 a.m. ETEveryone on Earth is dead, or will be soon. We don’t know exactly what happened — fallout from a nuclear catastrophe? — but whatever it was, it’s still spreading, still killing people, not going away. Some survivors are hiding underground, but they can’t last long. There seem to be a few people left aboveground, near the planet’s poles, but it’s clear that whatever came for everyone else is also coming for them. We are doomed — all of us, that is, apart from the five astronauts aboard Aether, a spaceship en route back to Earth after scouting a potentially habitable moon of Jupiter.So begins “The Midnight Sky,” George Clooney’s latest outing as a director and a star — a worldwide Netflix hit and a telling artifact of our relationship with the idea of disaster. As Aether approaches Earth, the astronauts are faced with a choice. Those who board one of the ship’s landing crafts — in hopes, say, of rushing to the side of still-living loved ones — will be returning to Earth to die there. Those who stay in space will remain for the rest of their lives.In an emotionally climactic scene, one crew member follows another to an equipment locker to confess his decision. But the two don’t discuss what’s happening on Earth, or why, or what it would mean to strand themselves in space. Instead, they grow philosophical about life. “I’ve been thinking,” the crew member says, his eyes moistening. “Been thinking a lot about time, and how it gets used, and why. Why one person lives a lifetime and another only gets a few years.”[embedded content]At first, the vague catastrophe of “The Midnight Sky” feels like a neat tweak to the usual disaster-movie formulas, which lavish attention on the apocalypse itself: Either we follow its slow, terrible progress through the first act, or we see it parceled out in ominous flashbacks. These days, it seems, those mechanics can be skipped over. It’s already all too easy to imagine how the end of the world might work. Every day, news and government reports remind us that we are living through a planetary crisis, bringing new projections of worse pandemics, rolling climate shocks, mass migrations that shatter our political systems. “The Midnight Sky” takes advantage of our dread-saturated imagination to skip the disaster altogether and cut straight to the pressure it puts on individual characters.But as the equipment-locker scene makes clear, this movie is more traditional than it seems. The story, in the end, uses the same dramatic conceit as just about every other disaster movie: The decimation of Earth becomes a backdrop that lends weight to the choices of a few individuals, which are meant to point to bigger truths about humanity. Two work buddies speculating about time and mortality sounds like a Samuel Beckett play, but two space explorers talking about time and mortality after the apocalypse, plus a few action scenes, sounds like Netflix gold. Rushing past the disaster doesn’t change the equation so much as boil it down into a purer version of itself — and, in doing so, reveal its fundamental inadequacies.Most disaster movies aren’t much interested in disasters in and of themselves. The disaster sparks the action and makes its resolution feel momentous, but when it comes to considering where it came from — why it unfolds one way and not another — things tend to get hazy. We see, perhaps, a montage of news reports, or a beaker taking a sinister spill in a lab somewhere. The disaster always seems to be attributed not to any specific cause, but to something nebulous and universal: “human nature,” hubris, evil business moguls. We’re offered just enough explanation to stop us from asking questions.By opting for maximum disaster briskness, though, “The Midnight Sky” actually makes it harder than usual to ignore those pesky questions. What human history underpinned the mysterious Big Bad Thing that killed everyone? What collective arrangements, decisions and failures underpinned the apocalypse, and how did they dictate how it played out? I found myself dwelling on those underground shelters: Who was in them? Who was shut out? Why, exactly? There is one brief mention of a “colony flight” that may or may not have managed to launch, carrying settlers into space. If it did, who was on board, and who watched it soar away?Once upon a time these details might have felt like distracting trivialities. But questions of this sort are among the most pressing facing humanity today. We are not living through a Big Bad Apocalyptic Thing; we are staring down a whole planetary patchwork of bad stuff that threatens death and suffering on a sweeping scale. It’s possible that the very idea of the discrete, one-shot “apocalypse” should be retired; it risks fixing our imagination on a definitive break that will never come, instead of the tangled moral drama of what needs to happen now. How are we preparing, as a species and a planet, for the hardships of the future? Will these preparations do more for some people than others? What hope do we have of modifying them for the better?[embedded content]By starting with Earth’s fate already settled, “The Midnight Sky” gives itself a pass on this line of inquiry, and an excuse to dwell instead in the pathos of small moments of loss and acceptance. It reminded me, discomfitingly, of figures like Elon Musk, who often seem more interested in triumphant dreams of life in space than in any effort to help address the earthbound problems that would send us there in the first place. Colonizing space feels exciting: a new life under a new sky, free from the entanglements of the past. Dealing with Earth’s problems involves something we’re not accustomed to seeing as romantic: accounting for other people’s basic needs on a global scale.If our planetary crises were the same as conflicts negotiated between small groups of individuals, they would be much more straightforward to resolve. But they’re not. Could we start telling disaster stories that reflect this fact, and grapple with it? The most powerful recent example comes not from film but from literature: Kim Stanley Robinson’s novel “The Ministry for the Future,” which cuts between — to give just a partial list — scenes of climate disaster, government and financial bureaucracy, geoengineering experiments, street protests, refugee camps and eco-terrorism. Each strand takes meaning not just from the experiences of its characters but also from the reader’s awareness of their deep interconnections.Until we have more disaster tales like this, the genre will only ever function as a smudged, distorted mirror for humanity. “The Midnight Sky” is suffused from the start with a distinctly current dread about our missteps, but it refuses to face the dilemmas those missteps now force upon us, even as the need to do so becomes more pressing by the day.AdvertisementContinue reading the main story More

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      Golden Globes 2021: A Full List of Nominees

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      #masthead-section-label, #masthead-bar-one { display: none }Awards SeasonNetflix’s First Winner?Our Best Movie PicksNew Diversity RulesOscar-Winning DocumentariesAdvertisementContinue reading the main storySupported byContinue reading the main storyGolden Globes 2021: A Full List of NomineesHere are the films, television shows, actors and directors chosen by the Hollywood Foreign Press Association.Chadwick Boseman, left, and Viola Davis were nominated for acting awards for “Ma Rainey’s Black Bottom.”Credit…David Lee/NetflixFeb. 3, 2021Updated 10:49 a.m. ETThe 78th Golden Globe Awards are scheduled for Feb. 28 and will be shown on NBC. Amy Poehler and Tina Fey will return to host the ceremony, which they last led in 2015.The Golden Globes typically take place in January. The Hollywood Foreign Press Association, which gives out the awards, pushed the ceremony to February this year, citing the coronavirus pandemic.Streaming services, including Netflix and Amazon, dominated the list of nominees, both with their own films — like “Ma Rainey’s Black Bottom” and “One Night in Miami,” which wouldn’t have relied on open movie theaters to find eyeballs even during a standard year — and with movies that the streaming companies purchased from traditional studios, including Aaron Sorkin’s “The Trial of the Chicago 7.” The streaming services also did well in the television categories: Netflix hits like “The Queen’s Gambit” undoubtedly benefited from having a captive audience over the past year.See the list of nominees below.Best Motion Picture, Drama“The Father”“Mank”“Nomadland”“Promising Young Woman”“The Trial of the Chicago 7”Best Motion Picture, Musical or Comedy“Borat Subsequent Moviefilm”“Hamilton”“Music”“Palm Springs”“The Prom”Best Director, Motion PictureEmerald Fennell, “Promising Young Woman”David Fincher, “Mank”Regina King, “One Night in Miami”Aaron Sorkin, “The Trial of the Chicago 7”Chloé Zhao, “Nomadland”Best Performance by an Actress in a Motion Picture, DramaViola Davis, “Ma Rainey’s Black Bottom”Andra Day, “The United States vs. Billie Holiday”Vanessa Kirby, “Pieces of a Woman”Frances McDormand, “Nomadland”Carey Mulligan, “Promising Young Woman”Best Performance by an Actress in a Motion Picture, Musical or ComedyMaria Bakalova, “Borat Subsequent Moviefilm”Kate Hudson, “Music”Michelle Pfeiffer, “French Exit”Rosamund Pike, “I Care a Lot”Anya Taylor-Joy, “Emma”Best Performance by an Actress in a Supporting Role in any Motion PictureGlenn Close, “Hillbilly Elegy”Olivia Colman, “The Father”Jodie Foster, “The Mauritanian”Amanda Seyfried, “Mank”Helena Zengel, “News of the World”Best Performance by an Actor in a Motion Picture, DramaRiz Ahmed, “Sound of Metal”Chadwick Boseman, “Ma Rainey’s Black Bottom”Anthony Hopkins, “The Father”Gary Oldman, “Mank”Tahar Rahim, “The Mauritanian”Best Performance by an Actor in a Motion Picture, Musical or ComedySacha Baron Cohen, “Borat Subsequent Moviefilm”James Corden, “The Prom”Lin-Manuel Miranda, “Hamilton”Dev Patel, “The Personal History of David Copperfield”Andy Samberg, “Palm Springs”Best Performance by an Actor in a Supporting Role in any Motion PictureSacha Baron Cohen, “The Trial of the Chicago 7”Daniel Kaluuya, “Judas and the Black Messiah”Jared Leto, “The Little Things”Bill Murray, “On the Rocks”Leslie Odom Jr., “One Night in Miami”Best Screenplay, Motion PictureEmerald Fennell, “Promising Young Woman”Jack Fincher, “Mank”Aaron Sorkin, “The Trial of the Chicago 7”Florian Zeller and Christopher Hampton, “The Father”Chloé Zhao, “Nomadland”Best Original Score, Motion PictureAlexandre Desplat, “The Midnight Sky”Ludwig Göransson, “Tenet”James Newton Howard, “News of the World”Trent Reznor and Atticus Ross, “Mank”Trent Reznor, Atticus Ross and Jon Batiste, “Soul”Best Original Song, Motion Picture“Fight for You,” “Judas and the Black Messiah”“Hear My Voice,” “The Trial of the Chicago 7”“Io Sì (Seen),” “The Life Ahead”“Speak Now,” “One Night in Miami”“Tigress & Tweed,” “The United States vs. Billie Holiday”Best Motion Picture, Animated“The Croods: A New Age”“Onward”“Over the Moon”“Soul”“Wolfwalkers”Best Motion Picture, Foreign Language“Another Round”“La Llorona”“The Life Ahead”“Minari”“Two of Us”Best Television Series, Drama“The Crown”“Lovecraft Country”“The Mandalorian”“Ozark”“Ratched”Best Television Series, Musical or Comedy“Emily in Paris”“The Flight Attendant”“The Great”“Schitt’s Creek”“Ted Lasso”Best Limited Series, Anthology Series or a Motion Picture made for Television“Normal People”“The Queen’s Gambit”“Small Axe”“The Undoing”“Unorthodox”Best Performance by an Actress in a Television Series, DramaOlivia Colman, “The Crown”Jodie Comer, “Killing Eve”Emma Corrin, “The Crown”Laura Linney, “Ozark”Sarah Paulson, “Ratched”Best Performance by an Actress in a Television Series, Musical or ComedyLily Collins, “Emily in Paris”Kaley Cuoco, “The Flight Attendant”Elle Fanning, “The Great”Jane Levy, “Zoey’s Extraordinary Playlist”Catherine O’Hara, “Schitt’s Creek”Best Performance by an Actress in a Limited Series, Anthology Series or a Motion Picture Made for TelevisionCate Blanchett, “Mrs. America”Daisy Edgar-Jones, “Normal People”Shira Haas, “Unorthodox”Nicole Kidman, “The Undoing”Anya Taylor-Joy, “The Queen’s Gambit”Best Performance by an Actress in a Television Supporting RoleGillian Anderson, “The Crown”Helena Bonham Carter, “The Crown”Julia Garner, “Ozark”Annie Murphy, “Schitt’s Creek”Cynthia Nixon, “Ratched”Best Performance by an Actor in a Television Series, DramaJason Bateman, “Ozark”Josh O’Connor, “The Crown”Bob Odenkirk, “Better Call Saul”Al Pacino, “Hunters”Matthew Rhys, “Perry Mason”Best Performance by an Actor in a Television Series, Musical or ComedyDon Cheadle, “Black Monday”Nicholas Hoult, “The Great”Eugene Levy, “Schitt’s Creek”Jason Sudeikis, “Ted Lasso”Ramy Youssef, “Ramy”Best Performance by an Actor in a Limited Series or a Motion Picture Made for TelevisionBryan Cranston, “Your Honor”Jeff Daniels, “The Comey Rule”Hugh Grant, “The Undoing”Ethan Hawke, “The Good Lord Bird”Mark Ruffalo, “I Know This Much is True”Best Performance by an Actor in a Television Supporting RoleJohn Boyega, “Small Axe”Brendan Gleeson, “The Comey Rule”Daniel Levy, “Schitt’s Creek”Jim Parsons, “Hollywood”Donald Sutherland, “The Undoing”AdvertisementContinue reading the main story More