I just realized we don't have a Best Sound Editing/Mixing Award.
It's not overly exciting, but audio (besides just the score/soundtrack) is pretty essential to films. I think Best Sound would be a good addition.
A
Arrival
Deadpool
The Edge of Seventeen
Eye in the Sky
Finding Dory
Hacksaw Ridge
Hell or High Water
Hunt for the Wilderpeople
Kubo and the Two Strings
La La Land
Moana
Moonlight
Rogue One: A Star Wars Story
Zootopia
B
The BFG
10 Cloverfield Lane
Captain America: Civil War
Doctor Strange
Fantastic Beasts and Where to Find Them
Hail, Caesar!
Into the Forest
The Jungle Book
The Little Prince
Love & Friendship
Neighbors 2: Sorority Rising
The Nice Guys
Nocturnal Animals
Popstar: Never Stop Never Stopping
Sausage Party
The Shallows
Sing
Sing Street
Star Trek Beyond
Talullah
Warcraft
C
The Accountant
Allied
The Angry Birds Movie
Billy Lynn's Long Halftime Walk
Bolgen
Central Intelligence
The Conjuring 2
The Finest Hours
Hardcore Henry
Jason Bourne
The Legend of Tarzan
Miracles From Heaven
Nerve
Passengers
Risen
The Secret Life of Pets
War Dogs
Why Him?
X-Men: Apocalypse
D
Alice Through the Looking Glass
Assassin's Creed
The 5th Wave
Batman v Superman: Dawn of Justice
Dirty Grandpa
The Divergent Series: Allegiant
God's Not Dead 2
Jane Got a Gun
London Has Fallen
My Big Fat Greek Wedding 2
Office Christmas Party
Suicide Squad
Teenage Mutant Ninja Turtles: Out of the Shadows
Trolls
F
13 Hours: The Secret Soldiers of Bengazi
Collateral Beauty
The Choice
The Darkness
Independence Day: Resurgence
Nine Lives
Norm of the North
Ratchet and Klank
Planning on seeing before the year ends
Manchester by the Sea
Fences
Having lived in various parts of Texas, this film does a great job at portraying West Texas. I'm not used to seeing many places I've actually been in movies, so it was fairly surreal, especially with the fact that it didn't feel like a caricature of the environment.
It's incredibly authentic, gorgeously shot and stirring. I didnt find it as strong as Boyhood, and it did feel a little meandering at parts (Boyhood did too, but it worked better for me). It is powerful cinema though, and I can't overstate how strong the ensemble is.
A-
You would only face potential issue if your party was a large John Carpenter's Halloween inspired Halloween party.
I also believe when Disney originally filed the trademark they were planning on the film being called Dia de los muertos, which a trademark would make sense. They'd only be trademarking the phrase as a title to the movie and in reference to the movie.
I don't get the hate on Disney's legal department for this. Does it look bad? Yes. Is it out of the ordinary, and were they trying to trademark the actual holiday? No.
I think it comes across the wrong way from Disney, but it's fairly standard practice and would only be trademarking the term with uses relating to Coco.
That's very interesting, I feel a little surprised I didn't know this kind of marketing was going on right in front of me.
It just clicked that the preacher subtly brings up upcoming secular movies in his sermons every so often, and includes stills from movies coming out in his power points.
Never paid much attention.
For the Passengers debate, I think it's safe to say Pratt and Lawrence didn't bring in 70m worth of Box Office (what they'd need for the studios to break even from the cost of hiring them).
I'm worried about how Lionsgate will treat this BO wise. They suck at marketing their movies, and this is a movie that could easily be a genuine WoM crowd pleaser if they would just put the film in theaters and put out a few advertisements.
Lionsgate got lucky with the Hunger Games (and even then they screwed up twice with marketing Mockingjay). They've released good movies, they're just an incompetent studio when it comes to getting people to come and see them.