The Panda

You're just salty because the new voting system is what caused you to lose the BOFFY BTW Silence moved up in the rankings from the preferential system versus straight ballot. The new system also broke a number of ties. In general though, both systems delivered the same winners.

Big shout out to @Spaghetti by the Sea for giving my the opportunity to co-host! Here is the complete list of winners Picture: La La Land (2. Zootopia, 3.Arrival, 4.Silence, 5.Hunt for the Wilderpeople, 6.Hacksaw Ridge, 9. Rogue One, 9. Hell or High Water, 9. Manchester by the Sea, 10. Moonlight) Ensemble: Hell or High Water Director: Damien Chazelle Actor: Casey Affleck Actress: Amy Adams Supporting Actor: Mahershala Ali Supporting Actress: Viola Davis Original Screenplay: Zootopia Adapted Screenplay: Arrival Voice Performance: Ginnifer Goodwin Editing: Arrival Cinematography: La La Land Production Design: La La Land Costume Design: La La Land and Fantastic Beasts and Where to Find Them Makeup and Hairstyling: Star Trek Beyond Original Score: La La Land Original Song: City of Stars Soundtrack: La La Land Sound: Arrival Visual Effects: The Jungle Book Animated Feature: Zootopia Comedy Feature: Hunt for the Wilderpeople Horror Feature: 10 Cloverfield Lane Documentary Feature: O.J.: Made in America Foreign Feature: Elle Overlooked Feature: Silence Hero: Dr. Louise Banks Villain: Howard Worst Picture: Suicide Squad Impressive BO: Deadpool Disappointing BO: The BFG TV Drama: Stranger Things TV Comedy: Atlanta Best Thread: The Classic Conversation Thread WTF Ethan: Butt Grabbing Funniest Poster: MrPink MVP: Rth

And now for the Top 3 and the BOFFY winner for Best Picture! Number 3 Number 2 BOFFY Winner for Best Picture

Continuing the BP Announcement Number 6 Number 5 Number 4

Alright, time to announce Best Picture, I am going to do this by announcing 10 - 7, 6 - 4, and then 3 - 1. This is the order they ranked after the preferential vote! Number 10 There was a three-way tie for 9! Number 9a Number 9b Number 9c

Rogue One is not the real winner... Something must have screwed up with the ballots! Here is the real winner!

And the last award before best picture... Best Ensemble Everybody Wants Some!! Paramount Hell or High Water Lionsgate Nocturnal Animals Focus Features Moonlight A24 Rogue One: A Star Wars Story Disney And the winner is...

Now for the award to the person behind the camera! Will it be the man who makes Ethan Hunt jizz? The man who blew up his balls? Or the legendary director who he's be unsurprisingly silent about? Best Director Damien Chazelle La La Land Kenneth Lonergan Manchester by the Sea David Mackenzie Hell or High Water Martin Scorsese Silence Denis Villeneuve Arrival And the winner is...

And now for the last write-up? Did we save the winner for last? La La Land “La La Land is a movie that announces its intensions right from the opening scene - a gorgeous, colorful musical number incorporating a few dozen performers, all of them playing people stuck in a traffic jam who've come to Hollywood in pursuit of their dreams. It's a deliriously staged scene, one of the most joyous of last year - and then, once the singing and dancing stops, comes the dark punchline: these people may have just sung their hearts out, but they still aren't any closer to getting anywhere. If the subsequent story of two of them is any indication, they won't ever arrive precisely where they would like to be, with whom they want to be. The movie spends basically the entirety of its runtime pouring over this central idea, gradually entering a more and more active dialogue with itself, its countless influences, and what it had been doing earlier. It's a film fundamentally built on contrast - between the reality and fantasy of relationships, the reality and fantasy of Hollywood, success and failure, past and present, the artificially created "movie magic" and the very real effect it has on people, inspiring them to create or live in their own movie magic, at least for a while. It wants to do so much that it can't possibly develop every single idea to its conclusion, and so it does the big picture and broad strokes better than the details. Yet for a movie that has so much on its mind, it's also amazingly light on its feet, never didactic, and always confident, even more so when it moves into a bittersweet third act in which the filmmaking pointedly becomes more simple just as the emotions grow more complex; the music goes quieter, the colors fade, and some of the most affecting scenes turn out to be simple, quiet dialogue exchanges. La La Land has all the ability to get across the playful thrill and giddiness of infatuation, but also enough wisdom to view the resulting relationship from a calm, sober distance later on. The conclusion it builds to is sublime, and in particular, it feels significant that this is Damien Chazelle's first film with an entirely closed ending with regards to both story and character - the actions are done, the consequences are known, all anyone could do in the end is dream just for a little bit again.” – Jake Gittes "La La Land is absolutely magical and it is the reason movies are made. This movie did just about everything I could ever want a movie to do, going into it. I was in a fairly dour mood when I first walked into the theater, maybe a bit less dour than when I went to see Arrival, and La La Land left me leaving the theater with a bigger grin on my face than when I went to see The Force Awakens for the first time in 70mm IMAX. La La Land is joyous, electric and emotionally moving, all at the same time. It's not only a celebration of why we go to the movies, but it's a celebration of why we pursue dreams and pursue each other, and how we balance all of that out. Damien Chazelle's directing is impeccable, every single frame is perfectly shot and gorgeous to look at, the score is infectious and I am still listening to it constantly, it is edited perfectly, Ryan Gosling and Emma Stone give flawless performances. I was not able to find a single flaw in this movie. This is one of the best musicals ever made, hell it might even end up being one of the best movies ever made after I give it a few years to sit. La La Land is an absolutely perfect movie, and it is represents everything I love about cinema." - The Panda

Three more categories until Best Picture! Best Actor Casey Affleck Manchester by the Sea Colin Farrell The Lobster Ryan Gosling La La Land Chris Pine Hell or High Water Denzel Washington Fences And the winner is...

FYC: WTF Ethan Hunt Moment 2017

Will Deadpool nab screenplay?? Best Adapted Screenplay Eric Hessier Arrival Rhett Reece and Paul Wernick Deadpool David Birke Elle Taika Waititi Hunt for the Wilderpeople Barry Jenkins and Tarell Alvin McCraney Moonlight And the winner is...

Alright, another acting category! Best Supporting Actress Viola Davis Fences Naomie Harris Moonlight Rachel House Hunt for the Wilderpeople Angourie Rice The Nice Guys Michelle Williams Manchester by the Sea And the winner is...

Speaking of Arrival, how about its write up? Arrival “Arrival isn’t about time travel. Spoilers. Sorry. But it’s difficult to talk about the brilliance of Arrival without revealing it’s inspired twist. I mean, yes, you can critique its brilliant technical performance, from the cinematography to the editing to the standout musical score that elevates the film in combination with its otherworldly sound design. Make no mistake, Arrival is an exceptionally well made film that deserves all its accolades, and then some. And, yes, you can bask in the brilliant performance of Amy Adams, which is supported by the actors around her. Her portrayal of Dr. Louise Banks is among the best of her already great career. It’s a masterclass of understatement, where she always has just the right look to bring out a depth of emotion in every scene. But Arrival is science fiction, and that means we need to look at its ideas. Early on in the film, Ian Donnelly (Jeremy Renner) reads an excerpt from her book where she states that language is the foundation of civilization. He disagrees, saying that the foundation is science. While there may be debate in the real world as to which is the case, the film comes pretty firmly on the side of language. The twist of the film isn’t that Louise Banks isn’t that a message was sent from the future, but rather that Louise Banks now has an intrinsic understanding of language which affects her perception of time. (I believe I had heard at some point that the Pirahã language had a similar view of time: speakers viewed the past as something in front of them and the future as something behind them. Although I could be wrong about it being something in Pirahã or another indigenous language. Still, the concept was interesting enough to stick with me and came out again while viewing the film.) This concept, linguistic relativity or the Sapir-Whorf Hypothesis, does have real world evidence. Perception of color, for instance, is strongly influenced by the language available to describe colors. In English, we have a good understanding of blue, and see it as strongly distinct from other colors. This doesn’t seem to be universal. Other languages may lack this distinction, and things that we’d see as blue could be described as other colors, or perhaps an absence of color entirely. I’ve already talked for several paragraphs about this, and I’m just barely scratching the surface. All great science fiction is going to root into fascinating ideas and encourage them to take hold so that the viewer (or reader) is going to think beyond what’s in the story. Arrival succeeds in doing that in spades. We’ve had a run of good, smart science fiction films in recent years. Arrival stands very well with them. Smart, impeccably made, and wholly engrossing and entertaining, Arrival is definitely deserving of all its praise, and then some.” – DamienRoc “Arrival was a marvelous theater experience. Despite me sitting in the front and having to constantly crane my neck to see what was going on (it was a crowded theater), every single neck pain I had the next day was worth it. Amy Adams as Louise is quite possibly one of the best performances of the year. It's quite near criminal that she got snubbed out of an Oscar nomination. The way the plot is structured is utterly phenomenal. The setup for the movie was very eerie, dark, and gloomy, and captured the tone perfectly. It entrances you with every single shot of the movie. Oh yeah, speaking of which, the cinematography is some of the best this year. Every shot is done in quite possibly the best and most beautiful way, and it perfectly complements the haunting score in one particular scene. Denis Villeneuve is a master of his craft, and he delivers what is quite easily one of the best movies of the year. And yes Ethan, my testicles were indeed not intact by the end of the movie.” - ThatOneGuy

One more tech award before we get into the final "big ones" Best Film Editing Joe Walker Arrival Megan Gill Eye in the Sky Jake Roberts Hell or High Water La La Land Tom Cross John Gilroy, Colin Goudie, and Jabez Olssen Rogue One: A Star Wars Story And the winner is...

Things are getting set up for the big finish! Best Production Design Patrice Vermette, Andrew Valade, and Paul Hotte Arrival Danid Wasco and Sandy Reynolds-Wasco La La Land Jess Gonchor Hail, Caesar! Daniel R. Casey and Nelson Lowry Kubo and the Two Strings Doug Chiang and Neil Lamont Rogue One: A Star Wars Story And the winner is...

Now that we got that Rogue One write-up out of the way, I figured it'd be fitting to announce Best Horror Feature 10 Cloverfield Lane Paramount The Conjuring 2 Warner Bros Don't Breathe Sony The Shallows Sony The Witch A24 And the winner is...

Rogue One: A Star Wars Story “As a fat American and film enthusiast, I often compare movies to food. In that respect, something like “La La Land” would be a robust meal - the kind that you see in those FDA-mandated “ideal plate stickers”; something like “Arrival” would be brain food, the kind that stimulates your senses and gets you thinking; and something like “Hunt for the Wilderpeople” would be a dish that you wouldn’t sample under normal circumstances, only to grow to love it if you could only branch out. And by this same analogy, “Rogue One: A Star Wars Story” would be junk food. It might not necessarily be good for you, but it looks, smells, and tastes pretty damn good. Because yes, it is hard to argue that “Rogue One” is a movie that needed to be made. The Star Wars franchise was riding so high after the joyride / franchise revival that was “The Force Awakens” that “Rogue One” arguably only needed to be passable entertainment in order to be successful. There’s no need for Disney to make the extra effort to make their films good, as the amount of franchises it has under its belt almost guarantees it’s going to be the dominant studio in any given year. And yet, as we’ve seen this year with “The Jungle Book”, “Finding Dory” and “Captain America: Civil War”, Disney is capable of locking film after film into their schedule for the express purpose of making money while still crafting high-quality, enjoyable entertainment. “Rogue One” is not a perfect movie. The Star Wars franchise, along with Marvel, DC, and whatever others pop up in your head, will likely never be awards contenders, and there are some serious flaws in terms of overall character development. But in terms of the goal it sets out to achieve - creating an enjoyable, fast-paced, and crowdpleasing Star Wars movie that can help you escape from the problems of the world for a couple hours - “Rogue One” absolutely succeeds. Although there’s limited time devoted to the supporting cast, each of them gets their moment to shine. Being “A Star Wars Story”, “Rogue One” doesn’t have to limit itself to the typical constraints of a major movie franchise. People die in this movie, and not the Agent Coulson kind of death. There are real consequences, and real stakes. Felicity Jones, as Jyn Erso, carries the movie with her significant acting talent, and in just one movie creates the kind of family drama that makes the story of the Skywalkers so compelling in the other Star Wars films. And even if your problems with the film kept you from enjoying it, there’s no denying that the filmmaking displayed in “Rogue One” is absolutely stellar, with everything from the cinematography to the production design to the score working incredibly synergistically and efficiently. In the end, “Rogue One” might not necessarily be the greatest thing for the film industry. It’s not exactly like you need more sequels and spinoffs in the world, whereas we certainly could use more “La La Land”s, or “Arrival”s, or “Moonlight”s. But overall, the job of a sequel or a spinoff or any addition to a franchise is to strengthen the original property. And I dare you not to watch “Rogue One” (specifically the third act) and want to watch the first film immediately after. It may not be healthy, but it’s blockbuster filmmaking at its finest.” – Eevin "" - Telemachos

Going off singing and the voice, how about... Best Voice / Motion Capture Performance Auli'i Cravalho Moana Idris Elba The Jungle Book Ginnifer Goodwin Zootopia Mark Ryalnce The BFG Alan Tyduk Rogue One: A Star Wars Story And the winner is...

Now to go off Soundtrack, here is... Best Original Song Another Day of Sun La La Land Audition (Fools Who Dream) La La Land City of Stars La La Land Drive It Like You Stole It Sing Street You're Welcome Moana And the winner is...

Now for the category where we forgot what the definition of Soundtrack was and nominated 4 Original Musicals instead Best Soundtrack Deadpool Fox La La Land Lionsgate Moana Disney Popstar: Never Stop Never Stopping Universal Sing Street Weinstein And the winner is...

Now for another write-up Manchester by the Sea "Manchester by the Sea is an emotional roller coaster that sweeps up every viewer in its path. Its power is in its realness, with strong characters. Lee and Patrick are compelling in their authenticity and their individual tragedies that bind them together on this poignant tale. Lonergan writes this tale with perfect precision, mixing the most intense drama with some really funny moments. Then, he directs it even more meticulously. Praises have been thrown on Casey Affleck for his performance as Lee, and understandably so. It's rare that a well-known actor melts away so completely as Affleck does in this film. After the opening scenes, all you see is Lee, and he breaks you emotionally again and again. Lucas Hedges also brings Patrick to life in an incredible way, constantly living his tragedy while remaining a goofy kid. Williams and Chandler round out the cast in memorable supporting roles, and they both have memorable scenes that touch the heart in different ways. The entire ensemble is one of the best of the year, full of character actors who inhabit their characters fully, no matter how small the screentime. The cinematography is frequently gorgeous. Lipes frames shots in a way that reflect the emotion perfectly, and there are so many moments that are unforgettable in part thanks to their beautiful composition. Lame's editing matches this by making a two-hour-plus movie simultaneously feel like an epic despite the fact that the viewer will want to be living with these characters longer. Manchester by the Sea is a beautiful look at family and how we cope with tragedy. It's a powerful drama, intimate in the human love it portrays while sweeping in its storytelling. Lonergan has made a film that will be remembered for years to come, thanks to his magnificent direction and script and his actors' breathtaking performances. A true work of art." - Blankments "Well, this was an emotional sucker punch. This is a remarkable, heartwrenching, and ultimately uplifting portrayal of sudden loss and grief that doesn't feel at all overwrought: anyone who has ever had to endure the loss of someone close is certain to see themselves in these very human characters. Despite the heavy subject matter, it even throws in moments of levity that feels natural, including a handful of hilarious scenes that are funnier than most comedies that have come out this year. Carrying the film on his shoulders is a transcendent turn from Casey Affleck with a marvelously lived-in performance. He's no less matched by a tremendous breakout performance from Lucas Hedges, who makes the strongest impression of any young actor since Shailene Woodley in The Descendants. Kyle Chandler has little in the way of screentime but his absence hangs over the film. Also with little in the way of screentime but making a massive impression is Michelle Williams, who gets the film's most heartbreaking lines of dialogue. This is my #1 of the year so far." - filmlover

Now time for more TV Shows that most of the people on these forums didn't watch! #sorrynotsorry Best TV Show - Comedy Atlanta Black-ish Silicon Valley Bojack Horseman Veep And the winner is...

Now for the category where the movies that actually made money are in... Best Visual Effects Arrival Paramount Doctor Strange Disney The Jungle Book Disney Kubo and the Two Strings Focus Features Rogue One: A Star Wars Story Disney And the winner is....

Will the Wilderpeople snubbing continue?? @AABATTERY Best Comedy Feature Deadpool Fox Hunt for the Wilderpeople The Orchard The Lobster A24 The Nice Guys Warner Bros Popstar: Never Stop Never Stopping Universal Studios And the winner is...