The Fabelmansĭaniel Craig, Edward Norton, Janelle Monáe, Kathryn Hahn, Leslie Odom Jr.,Kate Hudosn, Dave Bautista, Jessica Henwick, Madeline Cline, Noah Segan, Jackie Hoffman, Dallas Roberts, Ethan Hawke, Hugh Grant et al. Michelle Williams, Paul Dano, Seth Rogen, Gabriel Labelle, Mateo Zoryon Francis-DeFord, Keeley Karsten, Alina Bruce, Julia Butters, Birdie Borria, Judd Hirsch, Sophia Kopera, Jeannie Berlin, Robin Bartlett, Sam Rechner, Oakes Fegley, Isabelle Kusman, Chandler Lovelle, et al. Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, James Hong, Jamie Lee Curtis, Tallie Medel, Jenny Slate, Biff Wiff, et al. Without them this film would’ve had no chance of working.īoyd Holbrook, Kelly Reilly, Alistair Petrie, Roxane Duran, Nigel Betts, Stuart Bowman, Simon Kunz, Amelia Crouch, Max Mackintosh, Tommy Rodger, Áine Rose Daly, Millie Kiss, Tom Sweet, et al. When they are faced off with adults its combative. Whether they cross that divide or not in many cases they aren’t interacting with the adults in the story, they are alone or playing off each other. The kids in The Black Phone have to play, in some cases, both dead and alive. Gaven Wilde, Spencer Fitzgerald, Jordan Isaiah White, Brady Ryan, Tristan Pravong, Jacob Moran, Brandy Hepner, Banks Repeta The Black Phone Mason Thames, Madeline McGraw, Miguel Cazarez Mora, Rebecca Clarke, J. Williams, Momona Tamada, Abby Jane Witherspoon, Kezii Curtis Secret Headquarters Mateo Zoryon Francis-DeFord, Keeley Karsten, Alina Bruce, Julia Butters, Birdie Borria, Sophia Kopera, Sam Rechner, Oakes Fegley, Isabelle Kusman, Chandler Lovelle The Fabelmans Max Mackintosh, Tommy Rodger, Millie Kiss, Tom Sweet, Áine Rose Daley The Cursed Kylie Rodgers, Andre Robinson, Kaylee Blosenski, Aryan Simhadri, Leo Abelo Perry, Mykal-Michelle Harris, Christian Cote, Sebastian Cote, Alijah Francis Cheaper by the Dozen Trinity Jo-Li Bliss, Jack Champion, Britain Dalton, Bailey Bass, Duane Evns, Jr. Max Mackintosh’s ability to convey fear, to be the audience’s conduit into the story, and to later convey true terror and fear are what makes him stand out in this talented field. What happens when he returns is what makes is special. It’s been quite an emotional start to the night.ĭue to the fact that Max Mackintosh’s character doesn’t just disappear like many young victim’s in horror films, The Cursed begins to set itself apart. Glad to see it’s not a Disney film for a change. I didn’t do great catching up on the Oscar nominees before the ceremony. In 1947 Warner Brothers finally won with a Silvester and Tweety short. Quimby’s MGM shorts were all Tom and Jerry shorts. Disney’s wins were for shorts that were Silly Symphonies or starred their core characters. The first 13 prizes went to either a Walt Disney or Fred Quimby production. One issue that’s obvious to everyone is a little similar to how Best Animated Short Film began. This article were many animators are spoken to shines quite a bit of light onto the problem. It still feels like a novelty in large part because of how the Academy treats it. More Jungle Cruise?īest Animated Film has been around for a little over 20 years. Putting this here to commemorate the first and perhaps only Oscars reference of Encino Man.ĭwayne Johnson and Emily Blunt are the first presenters. That has been the case in the past few years, however, I don’t anticipate this years high-grossing class will bring in that much interest. But one thing that is undeniable when there are fewer universally viewed nominees than in previous eras means there is less excitement-or even basic interest-among the average movie fan. Being a film history buff or a child of a bygone era adds nostalgia to the belief that the Oscar are no longer what they were.Īnd they’re not because these things always change. In short the magic and glamour people associate with old-school Oscars are tinged by many things: it was the studio super-production of the year, the system manicured personae far more back then and embellished legends, such that award shows and the like where they appeared were further hyped. All these factors and more have driven down viewership over the years. The revolution of American independents had less to do with it than it did first with Weinstein’s new campaigning tactics and then with further fragmentation of the audience with streaming and now with dwindling theatrical attendance post-pandemic. However, that didn’t really pan out on Oscar night until the late 90s. The divergence between what is popular and what is nominated was foreseeable since the end of the studio system. The decline in popularity of the Oscars is not a simple riddle to solve.
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