tadi tengok dah janda akak belakon sbb tak puas hati tadik kann
okla... i hate to say this ... tapi heolsss BAGUS la kali ni
selalu akak rengsek ngan lakunan heolsss kerana parade hensem je lebey
lakonan beshe2 jahhhhhhh.....choii
but this one is another version of pitt la...lainla dia depada watak2 sendu
sebelum ni yg ala2 control macho nak tak nak belakon je kannnn
nyampah!!!!
lakonan heols naik la setingkat lebeyyyy utk level2 dia sebelum ni
tapi nak compare ngan otai2 tu akak hmpphhh jugakla...
BEKAS JANDA??? hahahhaa...tu bekas madu tak jadik laaaaa choii
not to my level sangat pompuan tu tawwww hahahahhahahhaa
emmy pon harap friendsssssss akak rasa... kut tak hareyyyyyyyy
little women tu pengkritik pengkritik filem je suka sangat dan hype kan sangat...
sedangkan filem tu nan ado je..
greta grewing kan....member member dia dikalangan pengkritik yang sibuk melobi
Post time 5-2-2020 01:30 AMFrom the mobile phone|Show all posts
Off topic jap..Super Bowl halffime show last 2 days was amazing! I feel bad for next year’s halftime show sbb confirm x boleh beat performance Shakira & JLo.
Lepas habis show super bowl tu, tiba2 keluar article ni. Hahahaa
Review: Jennifer Lopez Doesn’t Need an Oscar, She Just Won the Super Bowl
Oscar nomination, schmoscar nomination. There’s no Academy for this, but Jennifer Lopez, in tandem with Shakira, earned some kind of unofficial award Sunday night for managing to pull off something no other performer has in years: convince a wide plurality of America it made the right collective choice not to click over to the Puppy Bowl.
In 14 minutes of pure frenzy, the duo and their guest stars, J Balvin and Bad Bunny, celebrated Latin music on the Super Bowl’s world stage while also giving the Fox nation the old-fashioned American show-biz virtues of choreography, choreography and more choreography. Hooray for Colombia, Puerto Rico and Hollywood — take your pick, or take ‘em all.
In a possible nod to “Hustlers,” or maybe just a fulfillment of the laws of inevitability, there was pole dancing… classy pole dancing. (Yes, that can be a thing.) Not to leave raciness out of the equation entirely, there was also a wholesome variation on dirty dancing. (Tweeted Perez Hilton: “I haven’t had sex since 2016, but this was close.”) Bodies were thrown in the air and tossed between stages before coming back together in fiercely rehearsed lockstep. Ponytails were put into mass rotation. Superstar drums were played. Hips were made to tell the truth… as they must. If you don’t hate spectacle, whiplash, multiculturalism or lessons in the importance of doing squats, it was a triumph.
Granted, the bar got reset pretty low with last year’s halftime non-extravaganza, not because Maroon 5 wasn’t good at being Maroon 5, but because a show that relies on Adam Levine doffing his shirt for its abs-and-tats climax has just been mis-booked. This year, the Super Bowl talent duties were assigned to Jay-Z’s Roc Nation. And while the NFL might have been wondering if it made the right choice when its halftime co-producer and his superstar wife declined to stand for Demi Lovato’s expert reading of the National Anthem (a newsmaking sit-out that threatened to overshadow anything Roc Nation had spent months putting together), there can be few regrets on the league’s part about what transpired out on the field.
A surprise version of Cardi B’s “I Like It” had Shakira taking over the lead part before being joined by the song’s familiar Bad Bunny. That might have been helpful for anyone who’s not hep to the Latin music charts, where all of Shakira’s hits have landed in recent years, even as J.Lo has been mostly absent from any kind of chart. That there were fewer recent English-language Top 40 hits here than in any other recent halftime show surely wasn’t a terrible hindrance to even the non-Spanish-speaking part of the audience — which did have familiar oldies “Jenny from the Block” and “Hips Don’t Lie” to rely on — in a performance where hoofing was paramount and (mostly) lip-synched hooks secondary. It’d be a stretch to think that having that much espanol in the highest-rated TV show of the year was intended as a political statement, as opposed to just doing what they do. But you can’t rule out that it’ll be taken that way anyway, by many approving viewers, and possibly a few less so.
Although J.Lo got more of the early publicity, the show couldn’t have been more evenly split if it’d been contractually mandated. (Which maybe it was, if you looked at the clock and saw that the transition from Shakira as headliner to J.Lo came exactly midway into the 14-minute performance, almost down to the split-second.) This was not a case of too many cooks creating not much broth at all, as has been the case with so many halftime performances, where artists have seemed thrown together for no reason, from the Aerosmith/NSYNC pairing in 2001 to Coldplay, Beyoncé and Bruno in 2016 to the hip-hop interlocutions during Maroon 5’s “please don’t hate us for being white” set last year.
You could celebrate the fact it was two Latino acts sharing the most highly viewed stage the globe has to offer, or that it was two women, or that it was two women over 40 — or that it was two performers who’ve put in their 10,000 hours, and then some, to shake it that expertly and effortlessly. Looking back on a review of last year’s show, we used the phrase “oddly denuded of joy,” but there was joy to spare in this one, in the glee that Lopez and especially the always-grinning Shakira exuded, even before all that caped flag-waving at the end — half U.S. flag, half Puerto Rican — offered additional reasons for multi-culti exuberance.
Costumers deserve almost as much credit as the choreographers here. Why, exactly, was the bespectacled Bad Bunny clad in a silver trench coat and hood that made him look like the robot Gort from “The Day the Earth Stood Still”? Well, why not? That was the most unusual costuming choice in a sea of outfits that first balanced red-and-leg, then black-and-leg… although attention must be paid to Lopez finally stripping down to a bodysuit that made her appear to be half-naked and half-clad in shards of glass. For a finale that accentuated rear movement, of course, There Would Be Fringe, and it would pay off.
The appearance of Lopez’s 11-year-old daughter, Emme, was sweet — and the closest thing to a breather in these 14 minutes of hysteria — although the snippet of “Born in the USA” that appeared as a segue into the finale felt slightly odd, even if its reason for being as an introduction to the flag costuming was apparent. In a blink-and-you-missed-it statement, Emme and the other children emerged from what looked like glowing bird cages before singing “Let’s Get Loud.” Was this production design coincidence, or an act of sneaking pro-immigration political commentary onto a network that doesn’t exactly favor it? On a show this planned out to the tee, accidents probably don’t happen.
The show would have been just fine as a pure entertainment without the blending of cultures being brought to the foreground instead of as obvious subtext. But amid the bounty of bootymania, there was something almost touching about the intersectionality of the Americas getting more than lip service at the end. These two gave it hip service, and for as long as they were on stage, no one with the slightest love of movement or rhythm could take a knee, or a seat.
Brutally Honest Oscar Ballot: 'Irishman' "Was Boring," Tarantino "Amazing," "I Want an American Director to Win"
5:00 PM 2/4/2020
byAnonymous, as told to Scott Feinberg
As voting ends, a female member of the Academy's actors branch, granted anonymity to speak freely, shares which films earn her precious vote (and — gulp — why).
Illustration by: Nishant Choksi
Throughout awards season, The Hollywood Reporter checks in with select members of the Academy of Motion Picture Arts and Sciences. Their insights are valuable not so much because they are representative of the overall Academy — one would have to speak with hundreds to get a scientifically significant sample of the 8,469-member voting body — but because they offer a sense of the sorts of things Academy members are thinking about. Here, an actress weighs in.
Best Picture
Andrew Cooper/Sony Pictures Little Women was badly acted and confusing, and I have no idea why they cast four British actresses to play American girls. [Emma Watson and Florence Pugh are British, but Saoirse Ronan is Irish-American, and Eliza Scanlen is Australian.] And every time they said they were poor, I gagged — they're living in a beautiful two-story house, and they have a cook. Jojo Rabbit was cute, but I found myself unable to laugh about Hitler — I don't think that's funny. Marriage Story was phony: You don't have an off-Broadway director and an off-Broadway actress living in a nice house with no day job — if an off-Broadway actor makes $150 a week, that's a lot. If someone besides Martin Scorsese had directed The Irishman, it wouldn't have all the accolades; it does because of his years in the business. It was too long and too repetitive, and the reverse-aging did not work — they erased the lines in their faces, but they still walked like old men. [Francis Ford] Coppola got it right in The Godfather when he had different actors play the characters when they were young and when they were old. Besides, I didn't care about any of the people in the movie. I really liked Ford v Ferrari — I loved the two actors and the moral of the story — and I wish they had promoted it more; it's worthy of more attention than it has gotten. Parasite is beautifully done, but it didn't hold up the second time, and I don't think foreign films should be nominated with the regular films. I liked Joker more than I thought I would; I put off seeing it for a long time, but it was actually a beautifully done film about mental illness, and I thought about it for a long time afterward, which is always a good sign. I loved 1917, but Quentin Tarantino's film, Once Upon a Time in Hollywood, was even better the second time than the first. I was in L.A. in the '60s, and I thought he captured that era perfectly. 1917 was a very good but pretty straight-on story about the horrors of war; Once Upon a Time in Hollywood was more complicated and stayed with me longer. MY VOTE (1) Once Upon a Time in Hollywood;(2) 1917;(3) Joker;(4) Parasite;(5) Ford v Ferrari;(6) The Irishman;(7) Marriage Story; (8) Jojo Rabbit;(9) Little Women
Best Director
Andrew Cooper
I can't vote for Marty [Scorsese, of The Irishman] — nobody wants to say it, but it's just not that good. Todd Phillips did an incredible job on Joker, as did Bong Joon Ho on Parasite, but not the best. I liked 1917 and Sam Mendes' direction, but I thought Quentin did a great job, and I want an American director to win. The Oscars is an American thing; English things win BAFTAs and the French vote for the French, and Quentin Tarantino should be honored for a great American movie. MY VOTE Quentin Tarantino, Once Upon a Time in Hollywood
Best Actor
Warner Bros. Pictures
I wasn't particularly impressed by [Marriage Story's] Adam Driver. [Once Upon a Time in Hollywood's] Leonardo DiCaprio has won already. I loved [The Two Popes'] Jonathan Pryce, but I don't know if I want to give it to the pope. So for me, it was between [Pain and Glory's] Antonio Banderas and [Joker's] Joaquin Phoenix, and I had to go with Joaquin because that is a performance that sticks in your mind. Antonio's was much more subtle and poignant; Joaquin hit it out of the park. MY VOTE Joaquin Phoenix, Joker
Best Actress
Courtesy of Roadside Attractions
Saoirse Ronan is wonderful, and I've liked her in so many things, but not [Little Women]. I can't vote for [Marriage Story's] Scarlett Johansson for a story I thought was not truthful. I won't vote for [Harriet's] Cynthia Erivo because I think that they should have gotten an American actress to play Harriet [Tubman], not an English actress. [Bombshell's] Charlize Theron did a good imitation [of Megyn Kelly], but I find the real Megyn irritating, so I found her irritating, too. Renée [Zellweger, of Judy] was just wonderful in the movie — her singing and everything, she's just great. MY VOTE Renée Zellweger, Judy
Best Supporting Actor
Courtesy of Columbia Pictures
I love Al Pacino [of The Irishman], but he wasn't Jimmy Hoffa; he was himself. The real Jimmy Hoffa was a guy you were scared of because he kept it all inside of him; he never exploded like Al did. Marty should have curtailed him. [The Irishman's] Joe Pesci was good, but I don't think that he did anything he hasn't done before, just less of it. [A Beautiful Day in the Neighborhood's] Tom Hanks is very good at imitating Mr. Rogers, but if you look in his eyes when he talks to the lead guy [Matthew Rhys], his eyes are not soft and loving; his eyes are calculating and judging. Mr. Rogers' eyes were warm. I really noticed that. That leaves me with [The Two Popes'] Anthony Hopkins, who was absolutely brilliant, and [Once Upon a Time in Hollywood's] Brad Pitt. I'm going for Brad because he hasn't won before, because I totally believed that he was this stunt guy and because of his scene at that ranch, where he has such presence that creates fear. MY VOTE Brad Pitt, Once Upon a Time in Hollywood
Best Supporting Actress
Larry Horricks/Twentieth Century Fox
I was irritated by Florence Pugh [Little Women]; she is so much older than her character is supposed to be that it was laughable. "You're, like, 30 years old [Pugh is actually 24], why aren't you a grown-up?" [Marriage Story's] Laura Dern was annoyingly over-the-top. If I was her client in a divorce case, I would have walked out five minutes into her rant and hired Ray Liotta. I usually love Margot Robbie, but I didn't really like her in [Bombshell]; it was just a caricature. She was better in Quentin's movie [Once Upon a Time in Hollywood]. Kathy [Bates, of Richard Jewell] is always good, but she didn't really do anything that memorable. So I voted for Scarlett Johansson, even though I didn't like Jojo Rabbit very much, because she did something kind of different than I've ever seen her do before. MY VOTE Scarlett Johansson, Jojo Rabbit
Best Adapted Screenplay
Peter Mountain Little Women was back and forth [chronologically], and you didn't know what was going on. I didn't like the theme of Jojo Rabbit. And The Irishman was boring. I actually went for The Two Popes over Joker because I didn't think a movie about two popes could be interesting, but it was — and funny. MY VOTE The Two Popes
Best Original Screenplay
Courtesy of Sony Pictures Entertainment Marriage Story was fake, which is too bad because there probably is a story there — I think [Noah Baumbach]'s writing about himself — but it just doesn't ring true. I really loved Knives Out, but it was too light. 1917 was really good but not that complex. Parasite was very interesting, in terms of the twists and turns it took. But Quentin did an amazing job with his fairy tale, and that's really what it is — it begins "Once Upon a Time," after all. MY VOTE Once Upon a Time in Hollywood
Best Animated Feature
Courtesy of Netflix
I watched them all. I put off watching Klaus until the end because I said, "I don't want to watch another movie about Santa Claus," but I found myself really drawn into that story and its animation. It was a reminder that you can affect someone else's life by just one or two things that you do. MY VOTE Klaus
Best Documentary Feature
Samir Ljuma
I didn't like American Factory — when the Chinese boss says "We're better than them" and they show the American workers as big fat slobs, I thought to myself, "Why is Obama attaching himself to this?" [Higher Ground, the production company run by Barack and Michelle Obama, is behind the film.] The Cave and For Sama were basically the same movie with different characters, and neither explained the Syrian political climate well, unlike The Edge of Democracy, which was really long but captured what was going on in Brazil. Honeyland got my vote, though, because it's a beautiful story about saving the environment that is told so simply, without hammering us over the head like Greta whatever [Thunberg, the 17-year-old Swedish activist]. MY VOTE Honeyland
Best International Feature
Manolo Pavón/Sony Pictures Classics
My favorite foreign film was the Hungarian one [Those Who Remained], but it didn't make the cut. It's way better than [France's] Les Misérables and [Poland's] Corpus Christi, even though I liked those. I know [South Korea's] Parasite is going to win, but the two I liked more were [North Macedonia's] Honeyland and [Spain's] Pain and Glory. Here I voted for the [Pedro] Almodóvar film because I loved the way it showed the life of an artist who kind of gets resurrected, in a strange way, after he assumes his life is over. I was very moved by it. MY VOTE Pain and Glory, Spain
Best Cinematography
François Duhamel/Universal Pictures and DreamWorks Pictures
There was nothing special about the visuals of The Irishman or Joker. The Lighthouse looked really great in black and white. But I was torn between Once Upon a Time in Hollywood and 1917. This is one place where I'll choose 1917 over Once Upon a Time in Hollywood; the cinematography made that film. MY VOTE 1917
Best Costume Design
Courtesy of Sony Pictures Entertainment
I wasn't going to vote for The Irishman or Jojo Rabbit — I mean, Jojo Rabbit is basically just Nazi uniforms. The costumes in Joker and Little Women were great. But I voted for Once Upon a Time in Hollywood because they brought back the '60s so beautifully and with such detail. MY VOTE Once Upon a Time in Hollywood
Best Film Editing
Courtesy of Twentieth Century Fox The Irishman was too long; she [Thelma Schoonmaker] has worked with him [Scorsese] for years and should have reined him in. The best film editing was clearly in Ford v Ferrari, with the races and everything. It knocked me out. I was along for the ride. MY VOTE Ford v Ferrari
Best Makeup and Hairstyling
Roadside Attractions/Pathé Productions
I haven’t seen Maleficent [Mistress of Evil], but I saw everything else. 1917 and Joker were fine. I wasn't blown away by Bombshell, even if all the women had Fox News hair. I voted for Judy because I thought that transformation was wonderful. MY VOTE Judy
Best Production Design
Andrew Cooper/Sony Pictures
I wasn't blown away by the production design of The Irishman or Jojo Rabbit. The other three were great. But I couldn't vote for Parasite or 1917 over Once Upon a Time in Hollywood. When he drives that car down the street with all of the signs, I thought, "Oh, my God, I'm back there." And then there were the ranch sets and everything else. They did a great job. MY VOTE Once Upon a Time in Hollywood
Best Original Score
François Duhamel/Universal Pictures
I haven't seen Star Wars: The Rise of Skywalker. The scores of Marriage Story and Little Women I don't even remember. Joker was good. The only score that I thought was really great was 1917. A lot of times a score overwhelms a film, but this one complemented the story. MY VOTE 1917
Best Original Song
Gavin Bond/Paramount Pictures
I listened to all of them, and I don't like any of them. None of them stayed with me, even Elton John's song ["(I'm Gonna) Love Me Again" from Rocketman]. If I had a gun to my head, I couldn't sing any of them, unlike songs from the past that you would remember. MY VOTE Abstain.
Best Sound Editing & Best Sound MixingI thought that Ford v Ferrari sounded good, but I don’t vote in these categories because I don’t know enough about the difference between the two. MY VOTE FOR BOTH Abstain.
Best Visual Effects
Courtesy of Marvel Studios
I thought the reverse-aging in The Irishman sucked — it was distracting. [The VFX in] The Lion King was good. The camerawork in 1917 was great, but I don't know how much of that is owed to visual effects. But I do know that Avengers: Endgame had great visual effects. MY VOTE Avengers: Endgame
Best Animated ShortI didn't have an opportunity to watch them. MY VOTE Abstain
Best Documentary ShortI didn't have an opportunity to watch them. MY VOTE Abstain
Best Live-Action ShortThey were all good. I liked Brotherhood quite a lot. But Nefta Football Club stood out for me because there was humor to it, with the donkey and the headphones, and also because I liked the twist that it took. MY VOTE Nefta Football Club
Oscars 2020: 17 quirky facts about this year's Academy Awards
Image copyright Getty/Lionsgate/Sony/Pixar
The short gap between the Baftas and the Oscars this year has barely left Joaquin Phoenix enough time to wash his multi-use tux.
The Joker star is just one Hollywood actor currently hot-footing it from London to Los Angeles in time for the Academy Awards on Sunday.
This year's ceremony is being held earlier than usual in an attempt to combat falling ratings. The slew of other awards ceremonies over several months was thought to be damaging interest in the Oscars, which mark the conclusion of awards season.
Oscar-ologists have been closely studying the nominations list for trends, patters, quirks and clues about who might win what.
1. Scarlett Johansson has joined a rather exclusive club.
She is only the 12th person to receive two acting nominations in the same year.
Johansson is nominated for both best actress and best supporting actress for her performances in Marriage Story and Jojo Rabbit respectively.
The other 11 people who've been nominated twice in acting categories at the same Oscars ceremony include Sigourney Weaver (in 1989), Al Pacino (1993) Emma Thompson (1994), Jamie Foxx (2005) and, most recently, Cate Blanchett (2008).
But none has ever won in both their categories.
2. It's been 15 years since the winner of best actress and best picture were in sync.
Very rarely does the winner of best actress also star in the winner of best picture - the last one that did was Hilary Swank in 2004's Million Dollar Baby.
That's unlikely to change this year.
Renée Zellweger is the favourite to win best actress for Judy, which isn't even nominated for best picture.
3. Cynthia Erivo could end up with a massive EGOT.
In fact, if the Harriet star wins an Oscar to go with her Emmy, Grammy and Tony awards she'll become the youngest EGOT winner in history.
The 33-year-old would take over from the current record holder John Legend, who completed the quad in 2018 at the age of 39.
Erivo has two chances to do this on Oscars night - because she's nominated for both best actress and best original song (she co-wrote Harriet's anthemic original song Stand Up.)
4. If Sam Mendes wins best director, it'll be the biggest gap between two directing wins in Oscars history.
The newly-knighted Sir Sam first won in 1999 for American Beauty, but could triumph again at the 2020 ceremony with his hugely successful World War One epic 1917.
Before now, Billy Wilder recorded the biggest gap, winning his two best director trophies 15 years apart for The Lost Weekend (1945) and The Apartment (1960).
5. There's a competing couple in the best picture category.
Directors Greta Gerwig and Noah Baumbach, who began dating in 2011 and have a child together, are up against each other for the top prize.
Gerwig's nomination for Little Women and Baumbach's for Marriage Story make them the first director-couple to go head-to-head for best picture. This almost happened in 2009, when James Cameron and Kathryn Bigelow both had films nominated - but they had divorced some 18 years earlier.
Gerwig and Baumbach are nominated in slightly different categories for writing (best adapted screenplay and original screenplay respectively), so at least that slightly eases the tension over the dishwasher.
Coincidentally, both their films star Laura Dern, who is nominated for best supporting actress.
6. Having said that, Little Women and Marriage Story are both long shots for the top prize.
That's partly because it's unusual for a film to win best picture without a nomination for best director, which neither Gerwig nor Baumbach have.
It's not impossible, however.
Last year, Green Book triumphed without a director nod for Peter Farrelly. Prior to that, 2013's Argo was the last to win without a nomination for its director Ben Affleck.
7. Toy Story 4 could better the Oscars record it set with Toy Story 3.
The prize for best animated feature was introduced in 2001, and since then only one sequel - Toy Story 3 - has won.
So a victory for Toy Story 4 would make it not just the second sequel to win best animated feature, but the second to win within its own film series.
8. Parasite has already broken a record and it could break another if it wins.
It's the first Korean film to receive a best picture nomination, and only the sixth film to be nominated for both best picture and international feature film.
That list of previous double nominees includes last year's Roma, 2012's Amour and 2000's Crouching Tiger, Hidden Dragon.
9. Jonathan Pryce brings a dose of reality to best actor.
The Two Popes star is the only nominee in the category who plays a real-life figure - Pope Francis.
The others, Leonardo DiCaprio, Antonio Banderas, Adam Driver and Joaquin Phoenix, all portray fictional characters.
(Admittedly, Pedro Almodóvar weaved some of his own experiences into the film director character played by Banderas in Pain & Glory).
There's more reality in the best actress category - Renee Zellweger plays Judy Garland, Cynthia Erivo portrays anti-slavery activist Harriet Tubman and Charlize Theron plays Fox News anchor Megyn Kelly.
10. Magazines are fertile ground for film ideas
Two of this year's awards season hopefuls were based on single magazine articles.
A Beautiful Day in the Neighborhood was inspired by a 1998 feature in Esquire magazine by journalist Tom Junod, who wrote a profile interview with the children's entertainer Fred Rogers.Hustlers, meanwhile, was based on a 2015 investigation in New York magazine by Jessica Pressler. Despite both films being nominated across awards season, including at the Golden Globes, sadly only Beautiful Day registered on the Academy's radar.
Jennifer Lopez will have to rely on a future film to score her first Oscar nomination.
11. The average age of the supporting actor nominees is 71.
Considerably older this year than the average age of all previous winners in this category - which is 49.
This time around, Brad Pitt is the youngest at 56, nominated alongside Tom Hanks (63), Joe Pesci (76), Al Pacino (79) and Sir Anthony Hopkins (82).
Having been around a while, it's perhaps unsurprising that all five of these greedy guts already have an Oscar - Pitt's came as a producer on 12 Years A Slave while the others won for acting.
12. Birdman could act as a benchmark for 1917.
Oscar pundits keep a close eye on best film editing every year, because there's a strong correlation between being nominated in this category and ultimately winning best picture.
It's notable, therefore, that 1917's momentum for the top prize comes despite the lack of an editing nomination.
Only one film since 1980 has won best picture without a best film editing nod, which was 2014's Birdman.
Interestingly, Birdman and 1917 already share something in common - both films appear to have been shot in one continuous take. Neither actually were, which, ironically, shows how skilful the editing must have been.
13. Ford v Ferrari is the first motor racing film to get a best picture nomination.
This might not sound particularly interesting but there's a surprisingly large number of racing films which have missed out in the past - such as Rush, Grand Prix and Days of Thunder.
Senna wouldn't have been eligible for best picture as it would have been in for best documentary, but it wasn't even nominated for that.
Ford v Ferrari (which is titled Le Mans '66 in some countries), is nominated but highly unlikely to win.
"It faces tough competition," acknowledged Christopher Smith of Motor1, "but beating tough competition is what the movie is all about."
14. Netflix have doubled their chances of winning best picture this year.
The streaming service pinned all its hopes (and money) on Roma in 2019, campaigning hard for the best picture win which eventually went to Green Book.
They fielded far more films for awards season this year, such as The King, Dolemite Is My Name, The Two Popes and The Laundromat (a film about which the less said the better).However, two of their films in particular, The Irishman and Marriage Story, are nominated for the top prize.
It may well be that the Academy is still not ready to allow a streaming service to win best picture, but if any Netflix title can win them over, you'd think it'd be a Martin Scorsese gangster film starring Robert De Niro, Al Pacino and Joe Pesci.
15. Neither of the two favourites for best picture have nominations in the acting categories.
This may be down to Parasite being perceived as a film with an ensemble cast, where no performance is easily singled out for a leading actor category.
The absence of 1917 in the acting categories is perhaps more surprising as George McKay appears in the entire film.
16. Songwriter Dianne Warren's nod in best original song (for I'm Standing With You from the film Breakthrough) is her 11th Oscar nomination.
Her others include LeAnn Rimes's How Do I Live (from Con Air), Aerosmith's I Don't Want to Miss a Thing (from Armageddon) and Faith Hill's There You'll Be (from Pearl Harbor).
But, as we said last year, she has still never actually won.
In fact, she is now the most Oscar-nominated woman without a win in history, which keeps the heat off Glenn Close a little longer.
Sir Elton John's nomination in this category comes 25 years after he won it for Can You Feel The Love Tonight? from The Lion King.
Renée Zellweger's portrayal of Judy Garland (pictured right in 1956) could win her best actress
17. Judy Garland never won an Oscar. But she was supposed to.
She was widely expected to win for 1954's A Star is Born, and even had cameras set up around her hospital bed (she had just given birth) to capture her speech.
Grace Kelly won instead for The Country Girl - one of the biggest upsets in Oscars history.
The cameramen rapidly dismounted the equipment around Garland and left.
So if Renée Zellweger does win best actress, at least that will indirectly mark some form of (late) Academy recognition for Garland, more than five decades after she died.
Kirk Douglas, Hollywood legend, dies at 103
Media captionStanley Kubrick's 1960 film Sparticus won four Oscars
Actor Kirk Douglas, a fixture of cinema for six decades, has died aged 103.
The stage and screen actor was well-known for a range of roles, including the 1960 classic Spartacus, in which he played the titular character.
Born in New York in 1916, he rose to prominence during Hollywood's "golden age", earning his first Oscar nomination for the 1949 boxing story Champion.
He was also the father of Oscar-winning actor Michael Douglas.
Michael said in a statement:"It is with tremendous sadness that my brothers and I announce that Kirk Douglas left us today."
"To the world, he was a legend, an actor from the golden age of movies... but to me and my brothers Joel and Peter he was simply Dad," it read in part.
"Let me end with the words I told him on his last birthday and which will always remain true. Dad - I love you so much and I am so proud to be your son."
Kirk Douglas was prolific as a film actor, with more than 90 credits to his name - ranging over six decades from the 1940s to the 2000s. An icon who defied convention Analysis by Peter Bowes, BBC News, Los Angeles
When I met Kirk Douglas in 2008 he was a sprightly 91. He talked about his advancing years and the impact a stroke, in 1996, had on his skills as an actor.
"I couldn't talk at all," he told me. "So what does an actor do who can't talk? He waits for silent pictures to come back! That's corny joke," he chuckled.
Douglas was particularly proud of his role in ending the Hollywood blacklist, when he defied the ban on working with filmmakers with alleged communist ties or sympathies.
He said he drew on "the impulsive qualities of younger Kirk" in making his decision to give the blacklisted writer Dalton Trumbo a screen credit under his own name for his work on Spartacus.
We discussed his passion for working with young people. He had started writing a blog to encourage young Americans to vote in that year 's presidential election.
Douglas and his wife donated millions of dollars to charitable causes and helped build hundreds of school playgrounds. He said their philosophy was; "Before you die, try to do something for other people." He is perhaps best-known as Spartacus, a Stanley Kubrick film which won four Oscars and was so popular that its iconic "I am Spartacus" scene entered the pop culture lexicon.
Douglas was himself nominated for an Oscar three times - for Champion (1949), The Bad and the Beautiful (1952), and Lust for Life (1956). He eventually won the honorary award in 1996 in recognition of his 50 years in the industry.
After the news of his death broke, fans gathered at his star set in the ground on the Hollywood walk of fame.
"He was one of the last Hollywood legends of the golden era. That's it. Not a superstar, a legend," one man, Gregg Donovan, told news agency AFP.
"It's devastating. I mean, I know he lived to 103, God bless him, but you just don't think he's going to leave us and it's such a sad day in Hollywood, I'll tell you."
Secret Oscar Voter #1: Ballot exposed with ‘Parasite’ for Best Picture, tough call between Renee Zellweger, Charlize Theron
While ballots were being mulled over, several Oscar voters told Gold Derby who they voted for — and why. They asked us not to reveal their identities, but they were otherwise eager to share their views of the year’s best films. Now that 2020 Academy Awards voting has concluded, we’ll share a few with you. The comments below by Voter #1 for each category are part of the thought process in choosing these potential winners.
I haven’t seen a movie like it. All of the elements came together to make a perfect film for me. I didn’t even notice the subtitles the second time I saw the movie because I knew what was coming. It was like I was seeing it with new eyes. I loved what he had to see, but he doesn’t beat you over the head with it. He’s been exploring these themes in his movies for a long time. Second place is “Once Upon a Time in Hollywood.” Third place is “Jojo Rabbit.”
BEST DIRECTOR: Bong Joon Ho (“Parasite”)
The direction and tone he was able to capture and create really stood up for me on a second viewing. What he and his editor did was extraordinary and was extremely difficult to pull off.
BEST ACTRESS: Charlize Theron (“Bombshell”) or Renee Zellweger (“Judy”)
This is a really hard category. All the performances were fantastic, but I haven’t fully made up my mind in this category. As I am talking this through, I haven’t voted yet and am still revisiting movies. I saw “Bombshell” more recently and Charlize blew me away. But in some ways, I didn’t find her a terribly sympathetic character, but her performance was illuminating. I also really loved Renee in “Judy,” who was other-worldly in her transformation.
BEST ACTOR: Joaquin Phoenix (“Joker”)
First of all, he’s one of our greatest actors. His performances was transformative, transfixing and absolutely monumental. There were parts of “Joker” that were incredibly tough and any quibbles one could take with the edginess or the hardness of the material itself, one could not deny the performance this actor laid out for us.
BEST SUPPORTING ACTRESS: Scarlett Johansson (“Jojo Rabbit”)
I feel like it was a Scarlett I hadn’t seen before. There was something so darling and relatable in her character. I loved it, and I loved her.
BEST SUPPORTING ACTOR: Tom Hanks (“A Beautiful Day in the Neighborhood”)
This is another tough category, because I really liked Brad Pitt. “Beautiful Day” was very high on my ballot for the nominations, and I don’t really recall a time when something hit me so hard emotionally. That was due in great part to Tom’s performance, and he’s such a truly gifted performer who’s been overlooked a lot for amazing performances like “Captain Phillips.” It’s not a career achievement situation, but I don’t know without Tom if that story I was being told would have affected me in the way that it did.
BEST ADAPTED SCREENPLAY: Taika Waititi (“Jojo Rabbit”)
I thought the story was fantastic and really well told. I went in with lower expectations because I read some of the things about the movie. I thought it could go either way. But the way the movie was told really worked for me, and I loved it.
BEST ORIGINAL SCREENPLAY: Rian Johnson (“Knives Out”)
It was one of the best of the year and was very high on my ballot for the nominations stage. It has this one nomination, whereas some of my other favorites have several places where I can show my appreciation for their accomplishments. With “Knives Out,” this is the only place I can support it. It had the best dialogue. It was subversive and had something to say. It stood apart from the crowd by being totally enjoyable.
ah kan? mcm kathrine hepburn, dia baru jek mati org terus buat filem pasal dia sbb pernah baca mane tah dia bagitahu dia tak suka org buat filem pasal dia..
lagipun kathrine hepburn tak de anak, cuma ade bbrp anak buah jek..
so prosesnye pun mudah
Post time 8-2-2020 11:12 PMFrom the mobile phone|Show all posts
2020 ACADEMY AWARDS
Sunday, February 9
CEREMONY PRESENTERS:
Mahershala Ali
Utkarsh Ambudkar
Zazie Beetz
Timothee Chalamet
Olivia Colman
James Corden
Penelope Cruz
Beanie Feldstein
Will Ferrell
Jane Fonda
Josh Gad
Gal Gadot
Zack Gottsagen
Tom Hanks
Salma Hayek
Oscar Isaac
Mindy Kaling
Diane Keaton
Regina King
Brie Larson
Shia LaBeouf
Spike Lee
Julia Louis-Dreyfus
George MacKay
Rami Malek
Steve Martin
Lin-Manuel Miranda
Sandra Oh
Natalie Portman
Anthony Ramos
Keanu Reeves
Chris Rock
Ray Romano
Maya Rudolph
Mark Ruffalo
Kelly Marie Tran
Taika Waititi
Sigourney Weaver
Kristen Wiig
Rebel Wilson
CEREMONY PERFORMERS:
“I Can’t Let You Throw Yourself Away” from “Toy Story 4” (Randy Newman)
“I’m Gonna Love Me Again” from “Rocketman” (Elton John)
“I’m Standing with You” from “Breakthrough” (Chrissy Metz)
“Into the Unknown” from “Frozen II” (Idina Menzel and Aurora)
btw razzie awards dah keluar nominations.. Cats dahului nominations..
WORST PICTURE
"Cats"
"The Fanatic"
"The Haunting of Sharon Tate"
"A Madea Family Funeral"
"Rambo: Last Blood" WORST ACTOR
James Franco / "Zeroville"
David Harbour / "Hellboy" (2019)
Matthew McConaughey / "Serenity" Sylvester Stallone / "Rambo: Last Blood"
John Travolta / "The Fanatic" & "Trading Paint" WORST ACTRESS
Hilary Duff / "The Haunting of Sharon Tate"
Anne Hathaway / "The Hustle" & "Serenity"
Francesca Hayward / "Cats"
Tyler Perry (as Madea)/ "A Madea Family Funeral"
Rebel Wilson / "The Hustle" WORST SUPPORTING ACTRESS
Jessica Chastain / "Dark Phoenix"
Cassi Davis / "A Madea Family Funeral"
Judi Dench / "Cats"
Fenessa Pineda / "Rambo: First Blood"
Rebel Wilson / "Cats" WORST SUPPORTING ACTOR
James Corden / "Cats"
Tyler Perry (as Joe) / "A Madea Family Funeral"
Tyler Perry(as Uncle Heathrow) / "A Madea Family Funeral "
Seth Rogen / "Zeroville"
Bruce Willis / "Glass" WORST SCREEN COMBO
Any Two Half-Feline/Half-Human Hairballs / "Cats"
Jason Derulo & His CGI-Neutered "Bulge" / "Cats"
Tyler Perry & Tyler Perry (or Tyler Perry) "A Madea Family Funeral"
Sylvester Stallone & His Impotent Rage / "Rambo: Last Blood"
John Travolta & Any Screenplay He Accepts WORST DIRECTOR
Fred Durst / "The Fanatic"
James Franco / "Zeroville"
Adrian Grunberg / "Rambo: Last Blood"
Tom Hooper / "Cats"
Neil Marshall / "Hellboy" (2019) WORST SCREENPLAY
"Cats" / Screenplay by Lee Hall and Tom Hooper
"The Haunting of Sharon Tate" / Written by Daniel Farrands
"Hellboy" (2019) Screenplay by Andrew Cosby
"A Madea Family Funeral" / Written by Tyler Perry
"Rambo: Last Blood" / Screenplay by Matthew Cirulnick and Sylvester Stallone WORST REMAKE, RIP-OFF or SEQUEL
"Dark Phoenix"
"Godzilla: King of the Monsters"
"Hellboy" (2019)
"A Madea Family Funeral"
"Rambo: Last Blood" WORST RECKLESS DISREGARD for HUMAN LIFE and PUBLIC PROPERTY
"Dragged Across Concrete"
"The Haunting of Sharon Tate"
"Hellboy" (2019)
"Joker"
"Rambo: Last Blood" RAZZIE REDEEMER AWARD
Eddie Murphy / "Dolemite Is My Name"
Keanu Reeves / "John Wick 3" & "Toy Story 4"
Adam Sandler / "Uncut Gems"
Jennifer Lopez / "Hustlers"
Will Smith / "Aladdin"
BEST PICTURE
“Ford v Ferrari“
“The Irishman“
“Jojo Rabbit“
“Joker“
“Little Women“
“Marriage Story“ “1917“
“Once Upon a Time... in Hollywood“
“Parasite“
BEST DIRECTOR
Bong Joon-ho, “Parasite“
Todd Phillips, “Joker“ Sam Mendes, “1917“
Martin Scorsese, “The Irishman“
Quentin Tarantino, “Once Upon a Time... in Hollywood”
BEST ACTOR IN LEADING ROLE
Antonio Banderas, “Pain and Glory“
Leonardo DiCaprio, “Once Upon a Time... in Hollywood“
Adam Driver, “Marriage Story“ Joaquin Phoenix, “Joker“
Jonathan Pryce, “The Two Popes“
BEST ACTRESS IN A LEADING ROLE
Cynthia Erivo, “Harriet“
Scarlett Johansson, “Marriage Story“
Saoirse Ronan, “Little Women“
Charlize Theron, “Bombshell“ Renee Zellweger, “Judy“
BEST ACTOR IN A SUPPORTING ROLE
Tom Hanks, “A Beautiful Day in the Neighborhood“
Anthony Hopkins, “The Two Popes“
Al Pacino, “The Irishman“
Joe Pesci, “The Irishman“ Brad Pitt, “Once Upon a Time... in Hollywood“
BEST ACTRESS IN A SUPPORTING ROLE
Kathy Bates, “Richard Jewell“ Laura Dern, “Marriage Story“
Scarlett Johansson, “Jojo Rabbit“
Florence Pugh, “Little Women“
Margot Robbie, “Bombshell“
BEST INTERNATIONAL FEATURE FILM
“Corpus Christi” (Poland)
“Honeyland” (North Macedonia)
“Les Miserables” (France)
“Pain and Glory” (Spain) “Parasite” (South Korea)
BEST ANIMATED FEATURE FILM
“How to Train Your Dragon: The Hidden World“
“I Lost My Body“
“Klaus“
“Missing Link“ “Toy Story 4“
BEST DOCUMENTARY FEATURE
“American Factory“
“The Cave“
“The Edge of Democracy“ “For Sama“
“Honeyland“
BEST ORIGINAL SCREENPLAY
“Knives Out” - Rian Johnson
“Marriage Story” - Noah Baumbach
“1917” - Sam Mendes and Krysty Wilson-Cairns “Once upon a Time... in Hollywood” - Quentin Tarantino
“Parasite” - Bong Joon-ho, Han Jin-won
BEST ADAPTED SCREENPLAY
“The Irishman” - Steven Zaillian
“Jojo Rabbit” - Taika Waititi
“Joker” - Todd Phillips and Scott Silver “Little Women” - Greta Gerwig
“The Two Popes” - Anthony McCarten
BEST ORIGINAL SCORE “Joker” - Hildur Gudnadottir
“Little Women” - Alexandre Desplat
“Marriage Story” - Randy Newman
“1917” - Thomas Newman
“Star Wars: The Rise of Skywalker” - John Williams
BEST ORIGINAL SONG
“I Can’t Let You Throw Yourself Away” from “Toy Story 4“ “(I’m Gonna) Love Me Again” from “Rocketman“
“I’m Standing With You” from “Breakthrough“
“Into The Unknown” from “Frozen II“
“Stand Up” from “Harriet“
alternate universe
BEST PICTURE
“Ford v Ferrari“
“The Irishman“
“Jojo Rabbit“
“Joker“
“Little Women“
“Marriage Story“
“1917“
“Once Upon a Time... in Hollywood“ “Parasite“
BEST DIRECTOR
Bong Joon-ho, “Parasite“
Todd Phillips, “Joker“ Sam Mendes, “1917“
Martin Scorsese, “The Irishman“
Quentin Tarantino, “Once Upon a Time... in Hollywood”
BEST ACTOR IN LEADING ROLE
Antonio Banderas, “Pain and Glory“
Leonardo DiCaprio, “Once Upon a Time... in Hollywood“
Adam Driver, “Marriage Story“ Joaquin Phoenix, “Joker“
Jonathan Pryce, “The Two Popes“
BEST ACTRESS IN A LEADING ROLE
Cynthia Erivo, “Harriet“
Scarlett Johansson, “Marriage Story“
Saoirse Ronan, “Little Women“
Charlize Theron, “Bombshell“ Renee Zellweger, “Judy“
BEST ACTOR IN A SUPPORTING ROLE
Tom Hanks, “A Beautiful Day in the Neighborhood“
Anthony Hopkins, “The Two Popes“
Al Pacino, “The Irishman“ Joe Pesci, “The Irishman“
Brad Pitt, “Once Upon a Time... in Hollywood“
BEST ACTRESS IN A SUPPORTING ROLE
Kathy Bates, “Richard Jewell“
Laura Dern, “Marriage Story“ Scarlett Johansson, “Jojo Rabbit“
Florence Pugh, “Little Women“
Margot Robbie, “Bombshell“
BEST INTERNATIONAL FEATURE FILM
“Corpus Christi” (Poland)
“Honeyland” (North Macedonia)
“Les Miserables” (France)
“Pain and Glory” (Spain) “Parasite” (South Korea)
BEST ANIMATED FEATURE FILM
“How to Train Your Dragon: The Hidden World“
“I Lost My Body“ “Klaus“
“Missing Link“
“Toy Story 4“
BEST DOCUMENTARY FEATURE
“American Factory“
“The Cave“
“The Edge of Democracy“
“For Sama“ “Honeyland“
BEST ORIGINAL SCREENPLAY
“Knives Out” - Rian Johnson
“Marriage Story” - Noah Baumbach
“1917” - Sam Mendes and Krysty Wilson-Cairns
“Once upon a Time... in Hollywood” - Quentin Tarantino “Parasite” - Bong Joon-ho, Han Jin-won
BEST ADAPTED SCREENPLAY
“The Irishman” - Steven Zaillian “Jojo Rabbit” - Taika Waititi
“Joker” - Todd Phillips and Scott Silver
“Little Women” - Greta Gerwig
“The Two Popes” - Anthony McCarten
BEST ORIGINAL SCORE “Joker” - Hildur Gudnadottir
“Little Women” - Alexandre Desplat
“Marriage Story” - Randy Newman
“1917” - Thomas Newman
“Star Wars: The Rise of Skywalker” - John Williams
BEST ORIGINAL SONG
“I Can’t Let You Throw Yourself Away” from “Toy Story 4“ “(I’m Gonna) Love Me Again” from “Rocketman“
“I’m Standing With You” from “Breakthrough“
“Into The Unknown” from “Frozen II“
“Stand Up” from “Harriet“ - AFP
Post time 3-2-2020 06:18 PM
Author
arap2 scarjo lak, bg pelakon muda rasai supporting award balik.. 
