Emma Stone and Ryan Gosling in La La Land

Nominees for the 89th Annual Academy Awards were announced this morning.

Well, that’s not exactly true.

It turns out they weren’t announced so much as revealed, because for the first time since the yearly nominations became an early-morning PR event several decades ago, contenders weren’t recognized in front of a gathered crowd of journalists and publicists. Instead, the news was delivered in a slick, 20-minute online presentation that also featured reminiscences from former Oscar nominees and winners such as Brie Larson, Glenn Close, and Terrence Howard, with Gabourey Sidibe wisely suggesting that when this morning's nominees eventually attend the ceremony, they should be sure to sneak in a flask. (That’s good advice for those watching from home, too.)

Cindy Ramos, Ana Ziegler Loes, Jordan Smith, Beau Gusaas, Kermit Thomas, Eric Reyes, and Kathryn Reyes in Water by the Spoonful

Quiara Alegria Hudes was awarded a 2012 Pulitzer for her play Water by the Spoonful, and it’s easy to understand some of the reason the work was recognized, considering that Hudes gives us so many different plays for the price of one. Part family drama, part wisecracking comedy, part PTSD exploration, and part cyberspace warning/celebration, Hudes’ tale is alternately tragic, funny, insightful, and even, at times, magical, and I’d love to see all those styles and qualities blended into a cohesive, thrilling production. In the meantime, we have New Ground Theatre’s Water by the Spoonful. We’re treated to a few sincere and effective portrayals, but unfortunately January 20’s premiere merely suggested the truly satisfying achievement the show could and should have been.

James McAvoy in Split

It’s long been a misconception that M. Night Shyamalan movies are dependent on The Big Twist, because there certainly weren’t any in his run of god-awful 2006-13 titles that included Lady in the Water, The Happening, The Last Airbender, and After Earth. But Shyamalan’s 2015 scare flick The Visit sure did have a doozy – the twist being “It’s actually pretty good!” – and the whopper of his new thriller Split is that it’s close to great: scary, funny, nerve-racking, and boasting no fewer than three outstanding performances. Many more if you include all of star James McAvoy’s personalities.

Adam Driver and Andrew Garfield in Silence

By now, we should be used to cinematic miracles from Martin Scorsese. But Silence, his 160-minute, decades-in-the-planning exploration of faith, is still something I don’t think I’ve ever seen before: a deeply redundant movie that isn’t at all boring. This sentiment was obviously not shared by the quartet of middle-aged patrons who exited the auditorium ahead of me complaining about the film’s length and dullness and their growling stomachs and the previews being “totally deceptive.” (Personally, I thought the trailers captured the haunting, enigmatic mood about as ideally as a three-minute spot, or a 30-second one on TV, ever could. Were these folks expecting Hacksaw Ridge 2: 17th-Century Gore?) Yet if you have the patience for it – and considering the many scenes of physical and emotional torture, the stomach for it – you may find the experience of Scorsese’s latest riveting. I may have been aware of the thematic and narrative repetition, but I never once yawned.

La La Land

Will La La Land match or exceed the record of 14 Oscar nominations currently shared by All About Eve and Titanic? (Matching, maybe; exceeding, no.) Will this be yet another year of #OscarsSoWhite? (Not by a long shot.) Will Mel Gibson be welcomed back into the open arms of Hollywood’s elite? (As we’ve been frequently reminded this past year, anything’s possible.)

These and other questions will be answered on the morning of Tuesday, January 24. But until then, there’s no harm – except, eventually, to my ego – in predicting nominations for the 89th annual Academy Awards.

One year ago this month, Rolling Stone published the article “13 Things We Learned Hanging Out with Twenty One Pilots” – a getting-to-know-you with the indie-pop/alt-rock duo that included factoids such as “They avoid Twenty One Pilots fan fiction” and “Their mothers used to go to the same hairdresser.” If, however, you’re a fan of Tyler Joseph’s and Josh Dun’s chart-topping album Blurryface but want more rudimentary info prior to January 29’s concert at Moline’s iWireless Center, we humbly present “13 Other Things You Can Learn Without the Benefit of Hanging Out with Twenty One Pilots.”

Mark Wahlberg in Patriots Day

Rarely do I want movies to be longer. But there’s enough that’s great about Patriots Day – director Peter Berg’s procedural thriller about the Boston Marathon bombings – that suggests how great it might have been if given a more expansive presentation à la FX’s 10-part docu-drama The People v. O.J. Simpson. Heaven knows Berg had the cast to pull it off – with one exception. One major, infuriating, movie-wrecking exception.

Zoe Saldana and Ben Affleck in Live by Night

I don’t know about you, but I love watching car chases in movies set in the 1920s, because you know that despite sharp editing and camera angles giving the impression of astounding speed, those vehicles were probably scooting around at 40 miles per hour tops. Live by Night, director/writer/star Ben Affleck’s adaptation of Dennis Lehane’s 2012 novel, is similarly deceptive. Telling of a petty Boston crook who, between the ’20s and ’40s, becomes a Florida-based rum entrepreneur and bona-fide gangster, the film has a breadth and look and quality performers suggesting an epic tale of venality and greed, like The Godfather with fewer Sicilians and heavier humidity. In truth, however, it’s a dawdling, unsatisfying attempt at an epic, and it is slow. Forget 40 miles per hour; this thing doesn’t have a heart rate of even 40 beats per minute.

Kyle Chandler and Casey Affleck in Manchester by the Sea

Looking over my list of favorites from the recently ended movie year, I was trying to find something – anything – that connected them beyond my admittedly eclectic tastes. I mean, seriously: low-budget drama next to Disney animation next to indie horror next to teen comedy next to musical romance next to cops and robbers next to sci-fi next to a woman being transformed into a Shetland pony ... . What the hell kind of cinematic Top 10 is this?

Hidden Figures

Considering it’s more than three hours long, I’ve seen Philip Kaufman’s space-program epic The Right Stuff an almost unseemly number of times. Yet as strong as my recollections of the film are, I don’t recall a single person of color with a speaking role, which makes the new Hidden Figures an important, necessary corrective – and a terrifically enjoyable one, to boot. I’m due for another viewing of Kaufman’s 1983 Oscar winner, and probably soon, but I’m not sure I’ll ever again be able to watch all those earnest white NASA guys hard at work without thinking, “Hey ... where the hell is Taraji P. Henson?!”

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