Dealflicks Inc, an online company offering movie ticket and concession deals for up to 60% off, has announced its national launch of their 1st annual “Predict the Oscars” contest. If someone guesses all 24 of the Oscars correctly, he or she will win free movies for life – a prize valued at over $20,000.
Pick the correct winner for each of the 24 Oscar categories and you’ll win their top prize – free movies from discount movie ticket site DealFlicks for the next 60 years. Not sure about the best short documentary or best sound editing categories? If you guess 23 out of 24, you’ll get $1,000 store credit, guess 20 correct and they’ll give you $200 store credit. Simply sharing on Facebook and Twitter will get you a 20% off coupon code to use on their site! Enter your predictions before the contest closes on February 26th at midnight.
Dealflicks is currently partnered with over 700+ theatre locations representing over 3,500 screens domestically. You can find the Dealflicks iPhone App and Android App on the Apple App Store and the Google Play Store.
Thanks, as always, to Betty Jo Tucker for inviting me on her podcast, Movie Addict Headquarters. This time, we were joined by Mack Bates and Geoff Robertsto talk about the 2016 Oscars — the surprises and snubs, how we’d cast our votes, and our predictions. Tune in!
Why Are the Acting Oscar Nominees All White AGAIN?
Posted on January 19, 2016 at 3:12 pm
Spike Lee, who accepted a special Oscar award just two months ago, has said he will boycott the award show this year in protest of yet another all-white list of nominees. He is right to be outraged. How could Sylvester Stallone be nominated for “Creed” while his co-star Michael B. Jordan and writer/director Ryan Coogler are overlooked? What about the extraordinary performances in “Straight Outta Compton” (which only got a writing nomination and the Spike Lee’s completely overlooked “Chi-Raq?” What about a nomination for Idris Elba for “Beasts of No Nation” Fans and critics are outraged, with #oscarssoswhite hashtags dominating Twitter.
The Washington Post’s Lonnae O’Neal quotes my friend and fellow critic Tim Gordon in an excellent article about the “processing disorder” in the Academy when it comes to nominations for non-white performers.
From 1927 to 1999, a total of 14 black people won Oscars in all categories, he says. In acting categories, only 24 people of color have won since 1927, according to a Post report. More than 90 percent of Oscar voters are white and nearly 80 percent are male, according to the Los Angeles Times, and those numbers directly affect the range of stories and portrayals.
AMPAS head Cheryl Boone Isaacs, an African-American woman, is unhappy with the nominations as well, describing herself as “heartbroken and frustrated.” But until the Academy starts admitting more young, diverse members, it is not going to change. Boone agrees. She says. “The Academy is taking dramatic steps to alter the makeup of our membership. In the coming days and weeks we will conduct a review of our membership recruitment in order to bring about much-needed diversity in our 2016 class and beyond. As many of you know, we have implemented changes to diversify our membership in the last four years. But the change is not coming as fast as we would like. We need to do more, and better and more quickly.”
Best Motion Picture
The Big Short
Bridge of Spies
Brooklyn
Mad Max: Fury Road
The Martian
The Revenant
Room
Spotlight
Best Actor
Bryan Cranston, Trumbo
Matt Damon, The Martian
Leonardo DiCaprio, The Revenant
Michael Fassbender, Steve Jobs
Eddie Redmayne, The Danish Girl
Best Actress
Cate Blanchett, Carol
Brie Larson, Room
Jennifer Lawrence, Joy
Charlotte Rampling, 45 Years
Saoirse Ronan, Brooklyn
Best Supporting Actor
Christian Bale, The Big Short
Tom Hardy, The Revenant
Mark Ruffalo, Spotlight
Mark Rylance, Bridge of Spies
Sylvester Stallone, Creed
Best Supporting Actress
Jennifer Jason Leigh, The Hateful Eight
Rooney Mara, Carol
Rachel McAdams, Spotlight
Alicia Vikander, The Danish Girl
Kate Winslet, Steve Jobs
Best Director
Adam McKay, The Big Short
George Miller, Mad Max: Fury Road
Alejandro González Iñárritu, The Revenant
Lenny Abrahamson, Room
Tom McCarthy, Spotlight
Best Adapted Screenplay
The Big Short
Brooklyn
Carol
The Martian
Room
Best Original Screenplay
Bridge of Spies
Ex Machina
Inside Out
Spotlight
Straight Outta Compton
Best Animated Feature Film
Anomalisa
Boy and the World
Inside Out
Shaun the Sheep Movie
When Marnie Was There
Best Cinematography
Carol
The Hateful Eight
Mad Max: Fury Road
The Revenant
Sicario
Best Documentary Feature
Amy
Cartel Land
The Look of Silence
What Happened, Miss Simone?
Winter on Fire: Ukraine’s Fight for Freedom
Best Documentary Short Subject
Body Team 12
Chau, Beyond the Lines
Claude Lanzmann: Spectres of the Shoah
A Girl in the River: The Price of Forgiveness
Last Day of Freedom
Best Film Editing
The Big Short
Mad Max: Fury Road
The Revenant
Spotlight
Star Wars: The Force Awakens
Best Foreign Language Film
Embrace of the Serpent
Mustang
Son of Saul
Theeb
A War
Best Makeup and Hairstyling
Mad Max: Fury Road
The 100-Year Old Man Who Climbed Out a Window and Disappeared
The Revenant
Best Original Score
Bridge of Spies
Carol
The Hateful Eight
Sicario
Star Wars: The Force Awakens
Best Original Song
“Earned It”
“Manta Ray”
“Simple Song No. 3”
“Till It Happens to You”
“Writing’s on the Wall”
Best Production Design
Bridge of Spies
The Danish Girl
Mad Max: Fury Road
The Martian
The Revenant
Best Costume Design
Carol
Cinderella
The Danish Girl
Mad Max: Fury Road
The Revenant
Best Live Action Short Film
Ave Maria
Day One
Everything Will Be Okay (Alles Wird Gut)
Shok
Stutterer
Best Animated Short Film
Bear Story
Prologue
Sanjay’s Super Team
Were Can’t Live Without Cosmos
World of Tomorrow
Best Visual Effects
Ex Machina
Mad Max: Fury Road
The Martian
The Revenant
Star Wars: The Force Awakens
Best Sound Editing
Mad Max: Fury Road
The Martian
The Revenant
Sicario
Star Wars: The Force Awakens
Best Sounds Mixing
Bridge of Spies
Mad Max: Fury Road
The Martian
The Revenant
Star Wars: The Force Awakens
Not to sound cynical about it, but once a film gets channeled by the industry into that death grip of marketing via the springboard of the awards season, it’s this repetitive grind of promoting something that runs essentially from the end of the New York Film Festival to the end of February. Who wants to spend that much time talking about anything?… n some sense the industry is like the Mexican myth of the snake that eats its own tail. I think the awards season has become this thing that has metastasized. I think something unholy has happened: The Academy is a group of people who make films — six or 7,000 people who are the core of the industry. That’s a thing completely unto itself. Past that, every single thing that transpires between November and February is awards created by bodies of critics, whether it’s the Hollywood Foreign Press with the Golden Globes, the National Board of Review, the New York Film Critics Circle or the L.A. one. Critics Choice. It goes on and on. Unfortunately, the reality of what’s happened is that what started off on an almost academic and critical-slash-journalist footing has — more than people want to acknowledge — become a game of monetization.
I like his recommendation: Anyone paying for an ad campaign to promote awards consideration should be disqualified.
