For their first Oscar contender together, John and long-time lyricist partner Bernie Taupin merged a Tom Waits-like slow waltz with a Motown vibe.
Roger Deakins took one step closer Saturday night to winning his second Oscar for lensing the continuous-shot “1917.”
With the Cinema Audio Society’s notch in its belt, “Ford v Ferrari” could also win the Sound Mixing Oscar.
Animation newbie Netflix dominated, with “Klaus” grabbing seven Annies and “I Lost My Body” snagging three. Will this shake up the Oscar race?
“Ford v Ferrari” and “1917” are running neck and neck in the Oscar race for sound editing. Updated 1/25/20.
“Ford v Ferrari” and “1917” are running neck and neck in the Oscar race for sound mixing. Updated 1/25/20.
For only the fourth time in 20 years, Best Picture and Best Production Design could go together, which bodes well for frontrunner “1917.”
In a season of iconic transformations, “Bombshell” is the frontrunner over “Joker” and Judy.” Updated 1/22/20.
While Pixar chases its 10th feature Oscar with “Toy Story 4,” Netflix enters the race for the first time with “I Lost My Body” and “Klaus.”
The Oscar-winning prosthetic makeup artist is the frontrunner again this year for multiple feats of makeup mastery and pushing the limits of his craft.
“Rocketman,” “Jojo Rabbit,” “Parasite,” and “Toy Story 4” also took home prizes. But the Oscar race heats up between “1917” and “Ford v Ferrari.”
It’s a period piece visual feast led by “1917,” “Once Upon a Time in Hollywood,” “The Irishman,” “Joker,” and “The Lighthouse.” Updated 1/19/20.
