Black Panther

[GeneChing]

Getty Images
HIP-HOP
KENDRICK LAMAR WANTS TO PLAY A MISUNDERSTOOD VILLAIN IN BLACK PANTHER 2
'I’D PLAY A KILLMONGER FOR SURE'
MADELINE ROTH
02/23/2018

With Black Panther establishing a groundbreaking hit franchise for the Marvel Cinematic Universe, fans are already looking ahead to the (practically inevitable) sequel. One such fan is Kendrick Lamar, the film’s sonic maestro, who curated its star-studded, chart-topping soundtrack.

In a new interview with BBC Radio 1 — following his fiery BRITs performance — host Clara Amfo asked Kendrick about the possibility of landing a cameo role in the next Black Panther flick.

“Come on, I got to now!” the rapper responded, adding that he’d love to portray a multi-layered antagonist like Michael B. Jordan’s Erik Killmonger. “I really enjoy Killmonger’s character, just off the simple fact that he was a villain but he came with some real [talk]. … He was a villain but he was loved and misunderstood. So if I could, I’d play a Killmonger for sure.”

Kendrick also spoke about crafting the Black Panther soundtrack, saying, “Not even talking about the music - just the movie and the cast and the director - I think it's something that not only stands within its moment, but stands within time. We’re talking about timeless films and things that are going to curate after this film. When we got to the music, I just wanted to make sure that I could complement that and be a part of [it] in the best way I could.”

From everything we’ve seen, Kendrick and Black Panther have been a truly excellent match, so here’s hoping he can take that relationship to the next level and land that coveted cameo.

Heck, I'd like to play a villain in any MCU flick.

Greetings wolfen,

Did you actually see this movie?

mickey

Greetings Mickey!

Not an argument.

Wolfen

That's not argumentative. That's a perfectly reasonable question on a film review thread.

Thread: The **** Legend of Kung Fu Kenny by Kendrick Lamar
Thread: Black Panther

[GeneChing]

How Jackie Chan, Ancient Sparta And Zulu Spear-Fighting Inspired Black Panther‘s Stunt Coordinator
By Hugh Hart, March 1, 2018

Given his pedigree as the guy who helped stage fights for two of the century’s most audacious action epics John Wick and The Bourne Ultimatum, stunt choreographer Jonathan Eusebio arrived on the Black Panther set in Atlanta, Georgia well qualified for the gig. Still, he faced a considerable challenge. In the space of just six weeks, Eusebui had to unite the actresses portraying Wakanda’s all-female Dora Milaje militia into a precision-tooled fighting machine.


Ayo (Florence Kasumba) is one of T’Challa (Chadwick Boseman)’s fiercest Dora Milaje warriors. Courtesy Marvel Studios/Walt Disney Studios

Based in a gymnasium-like “stunt lab,” Eusebio applied lessons learned in 2006 from working on Zack Snyder’s hyper-violent ancient warfare picture 300. “We grouped the Spartans in small units to fight thousands of enemy soldiers,” he says. “My thought process for Black Panther was that the Dora Milaje are basically the female version of the Spartans, but instead of sword and shield they use spears. Their teamwork got to the point where the Dora become almost like an amoeba: When something comes in, the amoeba goes around the outsider and converges on it.”

Eusebio also drew inspiration from 1985 Jackie Chan movie Armor of God, which made a lasting impression on him as a southern Californian 12-year old besotted with comic books and martial arts flicks. Eusebio recalls, “At the end of that movie, Jackie fights four Amazon women and these girls are relentless. That type of pacing and rhythm kind of got imprinted in me, so that’s what I like.”



Building on those cinematic touchstones, Eusebio teamed with co-choreographer Andy Gill to develop a Wakanda-specific fight style from influences including Nigerian mixed martial arts boxing equivalent gambe and Angola’s version of Brazilian capoeira. For the Dora Milajae’s spear-brandishing attacks led by Danai Gurira’s fierce Okoye, Eusebio incorporated Zulu tribal traditions that bear resemblance to a Filipino weapons-based sport known as eskrima. “We drew upon all those things and put it in this cinematized movie format, but at the end of the day, a punch is a punch, a kick’s a kick, a throw’s a throw,” Eusebio says. “It’s the rituals that come before the battle that really make the difference.” Consulting on movement and chants with South African playwright/actor John Kani (T’Challa’s father T’Chaka), Eusebio says, “We made sure the fights connected in an authentic way with the ceremonial pageantry.”

continued next post

[GeneChing]

The Black Panther boot camp sessions also got an energy boost from star Chadwick Boseman, who brought his own drummer to the training sessions. “He played the drums while we practiced the choreography, which was really cool,” Eusebio recalls. “When the drummer went fast, the movement heated up and when the beat slowed down, so did the movement. It became this collaborative environment where everybody wanted to put their stamp on the training process.”

On screen, thunderous percussion, arranged by composer Ludwig Goransson, set the stage for the initial smackdown between Chadwick’s T’Challa and Michael B. Jordan as the rival Killmonger. The sequence was shot on an exterior set surrounded by green screens later populated with CGI waterfalls, but the fight itself was emphatically analog. Director Ryan Coogler wouldn’t have it any other way, Eusebio explains. “Ryan’s whole thing is he likes to do long takes because the fights need to feel raw and real. That means Chadwick and Michael were really going at it, thirteen hours a day, in cold water, shivering. The surface eventually got slippery so they’re slipping and sliding, they’ve got weapons in their hands – – there was a lot of stuff involved. but Chadwick and Michael really fought their hearts out.”


L to R: Erik Killmonger (Michael B. Jordan) and T’Challa/Black Panther (Chadwick Boseman)..Ph: Matt Kennedy..©Marvel Studios 2018

After two decades in the movie action business, Eusebio has shaped plenty of Hollywood sequences to spectacular effect, but he singles out Black Panther as a rare project. “I think what sets Black Panther apart is that it not only deals with [African-American] cultural empowerment, the movie also shows women being empowered,” Eusebio says. “I mean, there’s so many layers, so we just tried to give the fight scenes a dynamism to propel everything along. When a story’s this strong, you want to make sure the action works.”


Marvel Studios’ BLACK PANTHER. Okoye (Danai Gurira). Ph: Film Frame..©Marvel Studios 2018
Featured image: Marvel Studios’ BLACK PANTHER. L to R: Stunt coordinator Jonathan Eusebio, Erik Killmonger (Michael B. Jordan) and T’Challa/Black Panther (Chadwick Boseman). Ph: Matt Kennedy. ©Marvel Studios 2018

HUGH HART
Hugh Hart has covered movies, television and design for the New York Times, Los Angeles Times, Wired and Fast Company. Formerly a Chicago musician, he now lives in Los Angeles with his dog-rescuing wife Marla and their Afghan Hound.

Had to squeeze both vids in for this one.

[GeneChing]

I was wondering how this might do in China.

MARCH 8, 2018 9:29PM PT
‘Black Panther’ Leaps to the Top on Its First Day in China
By Patrick Frater
Asia Bureau Chief


CREDIT: MARVEL/DISNEY/KOBAL/REX/SHUTTERS

“Black Panther” sprang to the top of the Chinese box office Friday, approaching a sleek $20 million by the early evening of its first day of release in the film’s last major market.

The movie’s strong performance as it heads into multiplexes in China should help allay fears that Chinese audiences are cool towards black-themed movies.

By midday Friday in China, the Disney-Marvel Comic Universe film had grossed $9.87 million (RMB62.7 million), according to data from China Box Office. That climbed to $18 million (RMB115 million) by 7 p.m. At that point, “Black Panther” accounted for 57% of Friday’s gross revenues, ahead of big-budget patriotic documentary “Amazing China,” which came in second place with 19%. Last week’s dominant title, “Operation Red Sea,” eased down to third place with 8%.

Previews and midnight screenings for “Black Panther” were worth $1.45 million (RMB9.2 million) on Thursday, elevating the film’s running total to $19.5 million (RMB124 million) by 7 p.m. in China.

China is a notoriously tricky theatrical market to predict. Audience tastes are changing rapidly and can vary between the big metropolises and the smaller towns, where local Chinese fare tends to dominate. “Black Panther” is also the first substantial Hollywood title to release since Chinese New Year in February and the end of the unofficial blackout period during which local films are given distribution priority.

The early numbers reinforce predictions that “Black Panther” could enjoy a $60 million opening weekend in China and go on to exceed $100 million. The movie had already achieved high interest levels on popular consumer film site Maoyan, pointing to it being regarded as simply another Marvel superhero title, rather than a difficult-to-sell specialty film.

[GeneChing]

A decent opening for Tomb Raider, but unable to dethrone Black Panther.

‘Tomb Raider’ Tops $100M Offshore, Digs Up $41M In China – International Box Office
by Nancy Tartaglione
March 18, 2018 2:57pm


Warner Bros

UPDATE, writethru: In its 2nd weekend of overseas play, Warner Bros/MGM’s Tomb Raider unearthed $84.5M across 65 markets. That includes China where the No. 1 debut came in at a solid $41.1M, ranking as Warner Bros’ 7th biggest opener ever and landing on par with Wonder Woman and Jumanji: Welcome To The Jungle. The full cume at the international box office is now $102.5M for $126M worldwide.

Rival distribution sources like the offshore debuts on the reportedly $90M-budgeted movie — although it does not have a lot of theatrical runway ahead with Pacific Rim: Uprising and Ready Player One coming down the pike. Japan, which opens this week, will be one to watch.

This weekend’s figures give the Lara Croft origins story a leg up as the No. 1 movie internationally. It’s also the No. 1 title across Europe and Latin America, comping above Red Sparrow, Divergent, Salt and Ghost In The Shell. The Alicia Vikander-starrer sprang into action in nine Asian markets last weekend, looking to get out early ahead of Pac Rim 2 . The results there were good, although Korea continues to be a disappointment.

Meanwhile, last week’s champ, Black Panther, has reached $1,182.5M worldwide to edge Captain America: Civil War and Minions. The Disney/Marvel phenom is now the No. 14 movie ever at the global box office. Internationally, T’Challa boasts the No. 5 MCU release of all time — he has also outgrossed all non-MCU superhero titles except The Dark Knight Rises.

The Wakanda crew added $30M in 57 markets to lift the international box office total to $577.1M. The drop in China was steep with the movie now at $96M as it struggles towards $100M. Holds were strong elsewhere including South Africa where it’s the No. 1 film of all time. In Europe, BP is the 4th highest grossing MCU title ever.

In other news, Sony’s Peter Rabbit had a hopping good start in the UK with $9.5M after cast engaged in a local press push and family gala premiere. That sets it up nicely for Easter; it also crossed $100M domestic this weekend.

Another animated title, Pixar’s Coco finally landed in Japan where it opened to $5.8M including previews. The picture should settle into a long and successful run in this slow-burn market. The offshore total is now $549M, topping Finding Dory and The Lion King to make it the No. 4 grossing new IP animated release of all time. The global total is $757.7M.

Disney’s A Wrinkle In Time, however, is having a rough go of it overseas with a cume after two frames of just $10.6M.

And, Best Picture Oscar winner The Shape Of Water has topped $100M overseas, grossing $110.8M through Sunday. That was aided by a $10.35M start in China.

The coming frame sees Universal/Legendary’s Pacific Rim: Uprising start offshore rollout on Wednesday in France and Korea, notably. It adds majors, save Japan, throughout the weekend including China on Friday. IMAX will have it on more than 1,200 screens globally.

Breakdowns on the films above and more have been updated below.

Continued next post

[GeneChing]

NEW
MARY MAGDALENE

Focus’ biblical drama spread the word in eight markets in its debut, bowing to $2.2M. The majors in the first suite include Italy, the UK, Germany, Brazil and Spain. Italy was the top opener with $667K at 350 locations, above Lion which shares a director in Garth Davis. Brazil also opened above Lion with $375K at 369. The UK came in at No. 10 at 425 with $341K.
Universal has 35 more markets to release including 22 next weekend. The film stars Rooney Mara in the titular role alongside Joaquin Phoenix as Jesus in the portrait of his devout yet misunderstood follower. Mary, constricted by the hierarchies of the day, defies her traditional family to join a new social movement led by the charismatic Jesus of Nazareth. She soon finds a place for herself within the movement and at the heart of a journey that will lead to the capital city of Jerusalem.

Pic is written by Helen Edmundson and Philippa Goslett, and also stars Chiwetel Ejiofor and Tahar Rahim. See-Saw Films’ Iain Canning and Emile Sherman are producers alongside Liz Watts.

SHERLOCK GNOMES

Paramount Pictures
Opening a week early overseas, Paramount/MGM/Rocket Pictures’ sequel to 2011’s Gnomeo & Juliet bowed in its first five international markets with $2.1M. Russia was the top start on the John Stevenson-helmed animated picture with $1.4M at 1,000 locations. That’s 13% bigger than the original.
Emily Blunt, James McAvoy and Johnny Depp voice the lead garden gnomes who recruit renowned detective Sherlock Gnomes to investigate the mysterious disappearance of other garden ornaments. Mexico is the next major market to release as rollout continues through May.

HOLDOVERS/EXPANSIONS
TOMB RAIDER


Tomb Raider
Warner Bros
After accessing nine Asian markets last weekend to start the ball rolling internationally, Warner Bros/MGM’s Tomb Raider dug into $84.5M in a total 65 hubs this session. That lifts the overseas cume to $102.5M for a worldwide take of $126M.
In IMAX, Tomb Raider grossed $8.3M globally on 1,209 screens including $5.7M on 809 offshore. The international IMAX cume is $7.1M.

Coming 15 years after Angelina Jolie last donned a holster to play heroine Lara Croft, the Roar Uthaug-helmed Tomb Raider origins story is off to a decent start overseas. The $90M-budgeted pic will need to flex offshore muscle. Rival distribution execs expects it to reach break-even — but it does not have a lot of runway ahead with Pacific Rim: Uprising and Ready Player One coming down the pike.

The China start, despite a 6.5 Douban rating, is solid at $41.1M, on par with Wonder Woman. It looks set on a path to a figure in the $60M+ range given the other activity in the increasingly fast-burn market (whereas WW got to $90M). This was not expected to do Resident Evil style business in the Middle Kingdom; the game is more familiar to an older demographic and the picture was sold on Alicia Vikander’s strong female lead action hero. Although it also features local star Daniel Wu, there was no China tour. A key gamer market to watch will be Japan which was big on the previous movies.

Let’s look more closely at this weekend. The Lara Croft origins tale is the No. 1 movie internationally and across Europe and Latin America, comping above Red Sparrow, Divergent, Salt and Ghost In The Shell. The major disappointment is Korea where they are just not feeling it — the film dropped to No. 6 this weekend and has cumed just $4M to date.

The top opener this session was Russia at $4.4M, 11% ahead of Wonder Woman, 30% ahead of The Hunger Games and more than double Divergent. The UK follows with $4.2M on 1,089 screens for No. 2 and on par with Lucy, but above Ghost In The Shell (+30%), Red Sparrow (+63%) and Divergent (+70%).

France ($3.2M), Germany ($2.15M) and Mexico ($2.15M) round out the Top 5. In Asia, where the overall drop was about 50%, the top markets outside China are Indonesia ($4.4M), Korea ($4M), Taiwan ($3.6M), Malaysia ($2.9M) and Hong Kong ($2.3). Japan comes online Wednesday.

BLACK PANTHER


Black Panther
Disney
In its 5th weekend, Disney/Marvel’s Black Panther added $30M in 57 markets. The international cume is now $577.1M for $1,182.5M worldwide. Overseas, it has now become the No. 5 MCU release of all time, and has also grossed more than all non-MCU superhero titles except The Dark Knight Rises. BP is likely to taper off around the $600M range offshore, having passed the milestone domestically this weekend.
China is still the top market at $96M through Sunday, as it inches towards $100M which is the low end of the range coming out of last week’s first frame. That will land it lower than Thor: Ragnarok and Doctor Strange in the market, and around Guardians Of The Galaxy Vol 2, while above Wonder Woman.

As a region, Europe was down 45% with the film now the No. 4 MCU release ever, crossing $200M this weekend. In South Africa, the Ryan Coogler-directed movie held No. 1 for the 5th straight session and is the highest-grossing film of all time. In Asia Pacific, Singapore had a great -14% hold while Latin America was down 47% as a whole.

Rounding out the Top 5 after China are the UK ($59.5M), Korea ($42.7M), Brazil ($32.7M) and Australia ($28.1M).

THE SHAPE OF WATER

Fox Searchlight
The Best Picture Oscar winner crossed $100M internationally this session, rising the tide to $110.8M in 63 markets for Fox. The $17M weekend was boosted by a fantastic China opening at $10.3M, topping all comps. The awards halo also helped in Germany where Guillermo del Toro’s fairy tale was down just 28% for a $4M cume and in his home country Mexico where the drop was 30% for a $14.7M total. The next releases are in Malaysia and Indonesia this week and next. For a closer look at the China performance, see my separate story here.
PETER RABBIT
Peter Rabbit
Sony Animation
Sony’s animated adventure from Will Gluck started wider international rollout this weekend, hopping to a fantastic $9.5M in the UK. The updated take on Beatrix Potter’s classic was bigger than the original Paddington by 32%. In Mexico, it doubled that film with $1.4M. The total session was worth $15.5M on 8,600 screens in 22 markets. That lifts the overseas cume to $42.7M with the movie on track to play well through the Easter holiday. It has a similar dating strategy to last year’s Boss Baby, opening ahead of the holidays and building word of mouth.
The UK did over 50% market share, which is great for a family film outside holidays and with Tomb Raider entering the market — and despite heavy snowfalls with play throughout the day including evening shows.

The UK number for a non-holiday 3-day weekend also topped Zootopia and Secret Life Of Pets. For the release, James Corden, Daisy Ridley, Domhnall Gleeson, Elizabeth Debicki and Gluck did local press last weekend and attended a family gala premiere. Corden appeared on ITV’s Ant And Dec’s Saturday Night Takeaway. He and Ridley also did Chris Evans’ BBC Radio 2 show while Ridley and Debicki were on This Morning, also on ITV.

Next weekend adds Australia, Brazil, Germany, Italy, Russia and Spain.

RED SPARROW
Fox’s spy pic uncovered $8.9M in 72 markets this weekend for a $66.6M total so far. Drops in Germany (-25%) and Holland (-31%) were solid. The lead plays are the UK — currently in the midst of a very serious real-life issue with Russia ($7.3M), Germany ($7M), Australia ($6.1M), Spain ($5.5M) and Taiwan ($4.9M). The international cume is 4% bigger than The Girl With The Dragon Tattoo in the same group of markets and at current exchange rates. The Jennifer Lawrence-starrer opens in five more markets this week, including Kuwait, Qatar and the UAE.

COCO

Disney
Little Miguel and his otherworldly family finally hit their final market of Japan this weekend. They came in as the top Western release, posting $4.6M ($5.8M including previews). That’s 43% ahead of Wreck-It Ralph ($30M final), 20% above Inside Out ($32.5M final) and 8% bigger than Zootopia ($70M final, all at historical rates). Japan is a slow-burn market where movies play and play, and the sentiment is that this is set up for a nice run.
The full international weekend for Disney/Pixar was $6.5M in 27 markets with an overseas cume of $548.5M and a global take of $757.7M.

THE GREATEST SHOWMAN

Twentieth Century Fox
Closing in on $400M worldwide, Fox’s Hugh Jackman singalong earned $3.8M in 25 markets this session. The offshore total is now $229.1M for $397.7M global. Japan is swinging with a great dip of just 22% for a $29.7M cume to date. The UK is now at $53.2M and Australia has cumed $25.3M.
GAME NIGHT
Warner Bros/New Line’s comedy added $3.7M on 2,842 screens in 51 markets to bring the cume to $30.5M. The UK is leading play with $5M, followed by Australia at $4.8M, Germany at $2.6M off a slight drop, Russia with $2.5M and Holland at $2M. Staggered overseas releases continue in April with Mexico, France and Spain.

...

MISC UPDATED CUMES/NOTABLES
Fifty Shades Freed
Universal Pictures
Fifty Shades Freed (UNI): $2.4M intl weekend (53 markets); $265.4M intl cume
I’m Losing Weight (UNI): $2M intl weekend (Russia only); $8.9M Russia cume
Lady Bird (UNI): $1.8M intl weekend (40 markets); $19.2M intl cume
The Post (UNI only): $1.4M intl weekend (21 markets); $30.6M intl cume
Den Of Thieves (STX): $1.3M intl weekend (57 markets); $28.6M intl cume
Phantom Thread (UNI): $1M intl weekend (46 markets); $22.6M intl cume
Maze Runner: The Death Cure (FOX): $753K intl weekend (29 markets); $226.3M intl cume
Gringo (STX): $535K intl weekend (17 markets); $1.6M intl cume

China was key, as predicted.

[Jimbo]

I finally saw this. I won't be giving much of a review; I'll only say that IMO it's a very good film. Is it "the best superhero movie of all time," like so many people are saying? I don't know about that, but for me, it's certainly one of the best. I still think I probably liked Wonder Woman (and possibly Logan) better.

The tech aspects are especially impressive. It's been decades, so I don't recall if the T'Challa of the '70s comics had any "super powers," whether in his body or from his suit, or not. I don't think he did. But it's certainly a necessity in today's Marvel Universe. At first I was not impressed with the fight sequences. But as the movie progressed, they got better, even if they were mostly CGI.

BP has a very good hero, a good supporting cast, and an appropriately hateful villain.

One thing BP is NOT is anti-white. I don't know where a certain segment of people out there were getting that.

I couldn't find the BP thread, so I'm sure you'll merge this, Gene.

[boxerbilly]

laos

[GeneChing]

AUGUST 02, 2018 6:15am PT by Pamela McClintock
Box-Office Milestone: 'Black Panther' Crosses $700M in U.S. Almost Six Months After Release


Courtesy of Marvel Studios
'Black Panther'

Ryan Coogler's groundbreaking superhero movie is only the third film in history to clear $700 million domestically, not adjusted for inflation.
Black Panther is the gift that keeps on giving.

Nearly six months after it first opened in theaters, Ryan Coogler's groundbreaking superhero movie is crossing the $700 million mark in North America, Disney and Marvel announced Saturday.

Only two other films have ever crossed the $700 million threshold: 2015's Star Wars: The Force Awakens ($936.7 million) and 2009's Avatar ($760.5 million), not adjusted for inflation.

In recent weeks, Disney and Marvel slightly tweaked Black Panther's theater count in order to achieve the feat without an official rerelease. The film's longevity in theaters is unusual in an age when most films are gone within three to four months.

Black Panther — which has grossed north of $1.346 billion globally — had already broken numerous records. The pic is the top earner of the year to date in North America and the top-grossing superhero movie of all time domestically, not adjusted for inflation.

In terms of its standing among 2018 titles in North America, Black Panther is followed by fellow Disney/Marvel superhero pic Avengers: Infinity War ($677.7 million), Disney/Pixar's Incredibles 2 ($575.7 million), Universal's Jurassic World: Fallen Kingdom ($399.8 million) and Fox's Deadpool 2 ($317.8 million). (All grosses are through July 31.)

Globally, Coogler's film is among four 2018 releases to gross $1 billion or more in worldwide ticket sales. Black Panther ranks second behind Infinity War ($2.044 billion). Fallen Kingdom ($1.240 billion) and Disney/Pixar's Incredibles 2 ($1.002 billion) follow.

Earlier this summer, Disney was able to propel Ava DuVernay's A Wrinkle in Time past the $100 million mark domestically by pairing the film with Incredibles 2 at drive-in theaters across the country. It is the first time in history that a movie directed by an African-American woman has cleared $100 million, even though the film underperformed overall.

Conversely, Black Panther generated enormous profits. The event pic was a bold move on the part of Disney and Marvel Studios' Kevin Feige. The film — unprecedented in being a big-budget studio tentpole featuring a virtually all-black cast — stars Chadwick Boseman as T'Challa/Black Panther alongside Lupita Nyong'o, Michael B. Jordan, Danai Gurira, Daniel Kaluuya, Letitia Wright, Winston Duke, Angela Bassett, Forest Whitaker and Andy Serkis.

The story, described as a tale of black power and pride in addition to its superhero themes, follows T'Challa as he is sworn in as king of Wakanda, a cloaked, technologically advanced nation in Africa that is home to the exotic metal vibranium, the source of Black Panther's powers.

Following the film's release in February, a number of characters from Black Panther appeared in Infinity War, which kicked off the summer season at the box office.

Wakanda Forever!

[GeneChing]

Still haven't seen this. Anyone?

Crazy Rich Asians comparisons to Black Panther not quite fair
Commentary: The stakes are high in making sure Crazy Rich Asians isn’t just a blip.

BY ROGER CHENG
AUGUST 22, 2018 9:30 AM PDT


Constance Wu plays Rachel Chu, an Asian American NYU professor who discovers her boyfriend is part of one of the richest families in Asia.
Warner Bros Entertainment

Mission: Impossible - Fallout gave us Tom Cruise hanging from a helicopter. Avengers: Infinity War gave us an unprecedented collection of superheroes battling a purple god (and that snap!). But the most exciting thing I've seen on screen this summer? A cast of fully developed characters played by Asian actors.

After watching Crazy Rich Asians, I walked out of the theater with extra pep in my step.

With Asian actors so often forced into roles where they either serve as the butt of a joke or a sexualized object of desire, seeing a more glamorous, sophisticated take on Asians was nothing short of groundbreaking.

How long has it been since a film like this hit a movie theater with mainstream American audiences? The last contemporary Hollywood studio film with an Asian cast, the Joy Luck Club, premiered 25 years ago.

So it's no surprise that the Asian-American community is rallying behind this film, which reportedly is getting a sequel directed by Jon M. Chu. Asian representation in American pop culture has been, well, terrible, and we understand the stakes of this film -- its success could open the door to a demographic that hasn't always gotten a fair shake in media. That includes the whitewashing of Asian characters like Ghost in the Shell's Major Motoko Kusanagi, played by Scarlett Johansson.

View image on Twitter

AWKWAFINA
✔
@awkwafina
You guys showed up and made history. When I am my grandmas age, I will tell the kids the story about Crazy Rich Asians. Hopefully by then, they’ll find it hard to believe.

11:56 AM - Aug 20, 2018
18.5K
2,352 people are talking about this
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Just as the black community supported Black Panther by renting out entire theaters to broaden the film's reach, prominent Asians did the same with Crazy Rich Asians. I talked with friends and families about our commitment to watching the film and contributing to its success, a broad push encapsulated by the Twitter hashtag #GoldOpen. My cousins made it a big family outing with children and grandparents alike. My wife and I couldn't get a babysitter, so we took turns with the kid while the other watched the film.

Fortunately, while Crazy Rich Asians marks a cultural touchstone, it's also a fantastic film.

The movie stars Constance Wu as Rachel Chu, an Asian-American professor at New York University who visits Singapore to meet her boyfriend's relatives, only to realize they make up one of the wealthiest families in Asia. The movie follows her struggles to win the approval of the family's matriarch and fit in with the crazy rich folk.


Michelle Yeoh (center) plays the matriarch of the crazy rich Young family. She's more than just a "tiger mom."
Warner Bros. Entertainment

While the film offers a glimpse into the world of the super rich, it never forgets to ground itself with relatable, likable characters. Wu offers a strong, sympathetic portrayal of an outsider trying to fit in, while newcomer Henry Golding's Nick Young exudes charisma. Michelle Yeoh plays the matriarch of the Young family as less of an archetypal "tiger mom," and more a woman with a history and understandable motivations. Its humor comes in some of the weird antics rich people get up to. (Firing a rocket launcher at a party?)

And with food playing such an important role in Asian culture, it's no surprise you'll leave the theater hankering for some Singaporean cuisine.

Crazy Rich Asians depicts its share of familiar rom-com tropes, from a quirky sidekick to a fashion montage to the leading man's climactic grand gesture. Chinese takes on popular, recognizable songs like Madonna's Material Girl drive the narrative with an appropriate pop, although it's Katherine Ho's Mandarin take on Coldplay's Yellow, an appropriation of a term with racist connotations for Asians, that leaves you tingling during the big finale.

Kimberly Yam
✔
@kimmythepooh
· Aug 17, 2018
Replying to @kimmythepooh
You’re 20 years old.
You’ve spent the past several years repatriating yourself. You get your family’s name inked into your skin. That character is there forever. You won’t let anyone make you feel the way you did all those years ago. You love being Chinese.

Kimberly Yam
✔
@kimmythepooh
You’re 25 years old.
You see a movie with an all-asian cast at a screening and for some reason you’re crying and you can’t stop. You’ve never seen a cast like this in Hollywood. Everyone is beautiful.
You’re so happy you’re Chinese. #CrazyRichAsians #RepresentationMatters

5:04 PM - Aug 17, 2018
257K
24.2K people are talking about this
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It's that explicit intent to apply an Asian lens to a genre so familiar to mainstream audiences that makes Crazy Rich Asians so culturally significant. It's also why the comparisons to Black Panther are so easy to make.

The comic book epic, which starred a predominantly black cast and featured a black director, sparked a wave of black pride. For months after the film premiered, you saw fans performing the Wakanda Forever salute.

But some of the comparisons aren't fair. For instance, Black Panther was the latest in a long-standing series of hit Marvel movies using a winning formula of action, comedy and wit that's been there since the original Iron Man.

Crazy Rich Asians is based on a best-selling novel published in 2013 by Kevin Kwan. While it was a hit by literary standards, it doesn't have the benefit of a legacy of 17 hit movies preceding it.


Black Panther and Crazy Rich Asians show diversity pays off.
Marvel Studios

Rom-coms, meanwhile, aren't exactly raking it in. Crazy Rich Asians is the first film in this genre to top the weekend domestic box office in more than three years.

That's why its box office take -- $34 million since it opened on Wednesday -- may be more significant than the $192 million Black Panther collected over its debut weekend. It also helps that Crazy Rich Asians scored a 74 on Metacritic and a 93 on Rotten Tomatoes.

I'm not taking away anything from the success of Black Panther, which both entertained the masses and energized the black community. Both films are proof that diversity isn't only good socially, but good from a business perspective too.

But my hope is Crazy Rich Asians' success sparks a new level of acceptance for Asians in Hollywood. Searching, the first thriller starring an Asian-American actor (John Cho), debuts this week. Netflix's To All the Boys I've Loved Before stars Lana Condor, who was born in Vietnam, and hit the service earlier this month. (You may have recognized her as Jubilee from X-Men: Apocalypse.) And Crazy Rich Asians star Wu is best known for the ABC comedy Fresh off the Boat, which features an Asian-American family.

But keep in mind that a year after The Joy Luck Club premiered to much acclaim, there was a similar wave of optimism for Asian-Americans. A prime-time network sitcom, All-American Girl, starring Margaret Cho, aired a year later. Action series Vanishing Son arrived the same year, while Jackie Chan's Rush Hour and Sammo Hung's Martial Law arrived a few years later.

And just like that, it all faded away. All-American Girl, Martial Law and Vanishing Son swiftly got the ax, and Hollywood never capitalized on Joy Luck Club's box office win, with only Rush Hour proving to be a bonafide franchise.

So will Crazy Rich Asians mark the beginning of a trend, or turn into another blip in the history of pop culture? Watching smart, beautiful Asians in a movie theater made for a nice novelty. I'm hoping it won't take another 25 years for the next film to get made.

THREADS:
Crazy Rich Asians
Black Panther

[GeneChing]

Might as well start the sequel thread now, separate from the original film thread.

OCTOBER 11, 2018 1:49pm PT by Borys Kit
Ryan Coogler Signs on to Write and Direct 'Black Panther' Sequel (Exclusive)



The filmmaker behind the $1.3 billion hit is expected to begin penning the follow-up next year, say sources.
Ryan Coogler is going back to Wakanda.

Sources tell The Hollywood Reporter that the filmmaker behind Marvel’s landmark Black Panther has quietly closed a deal to write and direct the sequel.

While the move was expected — Marvel wanted to keep the creative team as intact as possible and a sequel was never in any real doubt — the timing was always unclear.

Black Panther, centering on T'Challa, the king of a fictional African country, was an outsized success both commercially and critically. The pic, which starred Chadwick Boseman as the titular hero, grossed $700 million domestically and more than $1.3 billion worldwide, and is also considered a contender for Oscar consideration. The movie became a defining cultural moment and touchstone, especially for the black community.

In the weeks prior and after the film’s February release, both Marvel and Coogler’s camp were hounded about when a sequel deal would be inked. Typically, a filmmaker is more than willing to quickly sign on for a follow-up, and a studio is eager to snap up a key piece of talent in the lead-up to or right after a successful opening. But Coogler’s camp shook off the peer pressure and took its time in making a deal, which occurred under the radar some time ago.

Sources say the plan at this stage is for Coogler to write the script next year with an eye to start production in either late 2019 or early 2020. Marvel and parent company Disney, however, have not made any official announcements about Marvel's slate of movies beyond the release of the next Avengers pic in May 2019 and a Spider-Man: Homecoming sequel in July — and plans could shift.

Coogler is developing the drama Wrong Answer with his frequent collaborator and Black Panther star Michael B. Jordan. He also is executive producing LeBron James’ Space Jam sequel and acts in the same capacity on the upcoming Creed 2.

Coogler is repped by WME and Cohen & Gardner.

[GeneChing]

Like I said on the Black Panther thread "Because all minorities are the same?" Why does Shang-Chi gotta be in the Wakanda wake? Why can't it just be the first in a new franchise?

DECEMBER 04, 2018 11:33am PT by Richard Newby
How 'Shang-Chi' Could Be Marvel's Next 'Black Panther'


Bryanston Distributing/Photofest; Courtesy of Marvel
Marvel's Shang-Chi (right) was modeled after Bruce Lee.

The studio is focusing on increased representation as its mysterious post-'Avengers 4' plans come into focus.
Even though we may still be waiting on the title and first footage for Avengers 4, Marvel Studios’ plans for its future are becoming increasingly clear. Phase 4, or whatever this next iteration of the Marvel Cinematic Universe ends up being called, is shaping up to run quite the gamut of characters, locations, and time periods with Black Widow and The Eternals set for their own films, while sequels featuring characters Spider-Man and Black Panther are also in development. Monday, an unexpected but welcome addition was added to the roster: Shang-Chi, the oft-labeled Master of Kung-Fu.

Marvel Studios head Kevin Feige has discussed his desire for increased representation in Marvel’s films going forward, not just in front of the camera but behind it as well. With Anna Boden co-directing Captain Marvel alongside partner Ryan Fleck, Chloe Zhao taking on The Eternals, Cate Shortland delving into Black Widow’s past, and Ryan Coogler returning to direct the sequel to Black Panther, the future of the Marvel Cinematic Universe is shaping up to be a space for voices and visions the industry desperately needs more of. Coupled with the Peter Ramsey co-directed, Spider-Man: Into the Spider-Verse at Sony, James Wan’s Aquaman and Cathy Yan’s upcoming Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) at Warner Bros., it’s clear that the future of superhero movies will no longer be dominated by white male voices. This doesn’t just mean new opportunities for filmmakers, but new stories that can change how we perceive the ever-popular mythology of superheroes.


Photofest
Michael B. Jordan in Black Panther.

The news broke Monday that the character Shang-Chi is on the fast-track for a film with Chinese-American screenwriter Dave Callaham (Wonder Woman 1984, Spider-Man: Into the Spider-Verse 2 ) on script duties. While Shang-Chi might be largely unknown, even amongst comic readers, the character is primed to break out in a way similar to Black Panther earlier this year. Marvel is searching for Asian and Asian-American filmmakers to helm the feature in the effort to make sure the film offers a perspective on Asian identity, something Hollywood is coming to realize the importance of and desire for, following this summer’s breakout hit Crazy Rich Asians. Despite his lack of recognition, Shang-Chi has been a key player in Marvel Comics with a rich, though often trope-defined history, that is ready to receive a new perspective just as illuminating and unique as any to come out of Wakanda.

Created by Steve Englehart and Jim Starlin, Shang-Chi first debuted in Special Marvel Edition No. 15 in 1973. His existence actually came about because Marvel Comics couldn’t get their hands on another popular property: the Warner Bros.-owned television show Kung Fu starring David Carradine. Ultimately, this ended up for the better as Marvel was able to create an original Chinese character, rather than utilizing a white dude playing at being Asian. Shang-Chi proved to be popular, largely because of the increased distribution of kung fu movies in American cinemas. Modeled after Bruce Lee, Shang-Chi became an unofficial means to continue the legacy of the martial arts icon. In 1974, Special Marvel Edition changed its name to The Hands of Shang-Chi: Master of Kung Fu to capitalize on the increased appeal of the character. While Shang-Chi’s reign was short, and his series ended in 1983, his team-ups with Iron Fist, Daughters of the Dragon, Heroes for Hire, Man-Thing, and Spider-Man cemented his place in Marvel’s history.

Despite good intentions and attempts to honor the legacy of martial arts films like The Big Boss (1971) and Enter the Dragon (1973), Shang-Chi’s appearances in the '70s and '80s relied on archetypes and troubling depictions. When Marvel couldn’t acquire the rights to Kung Fu, they instead bought the rights to Sax Rohmer’s pulp villain Dr. Fu Manchu and made Shang-Chi his honorable son. As a result, the history of Shang-Chi is also a history of one of pop-culture’s most controversial figures, one that relies on “Yellow Peril” and Asian-centric xenophobia spurned by World War II. Recent Shang-Chi appearances in the 21st century have retconned the Fu Manchu connection, possibly due to a loss of rights, and have instead made Shang-Chi the son of an ancient Chinese sorcerer Zheng Zu. As to whether this change was any better is a discussion best left to Asian-American voices.

Despite a dated history, Shang-Chi has evolved over the decades, though intermittently used and his evolution hasn’t taken him as far as it should have. While his powers have evolved beyond kung fu mastery to the ability to create duplicates of himself, and he’s helped heroes like Spider-Man refine their skillsets, and even joined the Avengers for a time, he still feels like something of a relic belonging to just a screen over from Blaxploitation films. Marvel was able to re-envision a character with a similar dated appeal with Luke Cage on Netflix. Thanks to Brian Michael Bendis’ Alias and New Avengers run, Luke Cage had once again returned to prominence among comic readers. But the series further eliminated some of the thug-life tropes that made him a black folk hero for our modern times, placing him within the context of contemporary race relations rather than the fantasy just outside of it. Shang-Chi felt deserving of a similar chance to shine on Netflix, especially following the controversy of Iron Fist, until it became clear Netflix and Marvel's relationship is winding down. But, it speaks volumes about Marvel’s plans for the character given that it is perusing a feature film for Shang-Chi, rather than a series on Disney+. Marvel wants to get as many eyes on Shang-Chi as possible, and that can only be a good thing.


Courtesy of Netflix
Mike Colter in Luke Cage.

With Monday's news came a number of social media opinions that the film should be Marvel’s PG-13 take on The Raid (2011) or The Night Comes for Us (2018). As awesome as those films are, and as important as fight scenes will inevitably be to the film, we’ve had plenty of Asian action heroes who are cooler than cool, but few we’ve gotten to know as characters in the same way we know the plights of white action heroes like John McClane, Rambo, or Ethan Hunt. Shang-Chi is an opportunity to depart from the Asian martial artist as the sleek, unphased fighting machine, and instead our chance to get to know a distinct and highly-skilled character faced with challenging the perception pop-culture has so often attached to the Asian hero. Shang-Chi can be so much more than Marvel’s Bruce Lee.

There are Asian-American writers who can better speak to their hopes for the Shang-Chi movie and the kinds of trials and triumphs they’d love to see reflected from their own experiences. But as a black writer, I can speak to the fact that Black Panther illuminated concepts I never thought I’d see in a superhero film. From the feeling of being separate from Africa, to the importance of black women, and Killmonger’s plight, Black Panther is so clearly a film driven from the black perspective. It’s a film that allowed its titular character to become more than a stoic paladin, and instead become an actual character faced with authentic challenges and a place in the world that all audiences could learn from if they listened. I want Shang-Chi to be that for Asian and Asian-American audiences. I want Shang-Chi to be that for all audiences who are willing to listen to a story that offers more than kung fu – a story that will undoubtedly shape our next decade of comic book films and the people hired to tell them.

[GeneChing]

I've never felt the need to discuss the Golden Globes because so few of the films we discuss here are ever nominated there. Our Academy Awards and Asian Film Festivals and Awards threads were sufficient.

That has changed.

I'm only cut&pasting the relevant nominations. You can see the full list here.

Best Motion Picture - Drama


NOMINEE
Black Panther

Best Motion Picture - Musical or Comedy


NOMINEE
Crazy Rich Asians

Best Performance by an Actress in a Motion Picture - Musical or Comedy


NOMINEE
Constance Wu
Crazy Rich Asians

Best Original Score - Motion Picture


Ludwig Göransson
Black Panther

Best Original Song - Motion Picture


NOMINEE
All The Stars
Black Panther

THREADS
The Golden Globes
Black Panther
Crazy Rich Asians

[GeneChing]

We don't have a thread dedicated to the SAGs because it seldom crosses into our genre. Nor do we have a thread for Glow. Anyone watched that? Should we start one?

SAG Awards Winners:
“Black Panther” took home the top award for best performance by a cast in a motion picture at the 2019 Screen Actors Guild Awards on Sunday night....

Outstanding Performance by a Cast in a Motion Picture:
“Black Panther” (WINNER)

Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series:
“Glow” (WINNER)
“Marvel’s: Daredevil”
“Tom Clancy’s Jack Ryan”
“The Walking Dead”
“Westworld”

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture:
“Black Panther” (WINNER)

'Black Panther' wins top prize at the Screen Actors Guild Awards
By JOSH ROTTENBERG
JAN 27, 2019 | 7:05 PM


Chadwick Boseman in a scene from the Marvel superhero juggernaut "Black Panther" (Matt Kennedy / Marvel Studios-Disney)

An Oscar season that has had no clear, sustained front-runner took another twist at Sunday evening’s Screen Actors Guild Awards, as Hollywood’s actors — representing the largest voting bloc of the motion picture academy — gave their highest honor to “Black Panther.”

The victory for the Marvel superhero smash, the highest-grossing film of the year, follows its landmark achievement earlier this month when it became the first comic book movie ever to land a best picture Oscar nomination.

Accepting the award, star Chadwick Boseman acknowledged the importance of the film — whose ensemble beat out the casts of “BlacKkKlansman,” “A Star Is Born,” “Bohemian Rhapsody” and “Crazy Rich Asians” — as a milestone in Hollywood’s long, slow march toward greater inclusivity both in front of and behind the camera.

“We all know what it’s like to be the tail but not the head,” Boseman said. “We know what it’s like to be beneath but not above. That’s what we went to work with every day. We knew that we had something special that we wanted to give the world, that we could be full human beings in the roles we were playing.”

This year’s unpredictable awards race has seen different films appear to take the pole position at varying times. The win for “Black Panther” — which has earned seven Oscar nominations — could be a good omen for its Academy Awards chances.

Over the last 25 years, roughly half of the winners of the ensemble prize have gone on to win best picture at the Oscars, though last year’s victor, “Three Billboards Outside Ebbing, Missouri,” ultimately lost out to “The Shape of Water” (which was not nominated for the SAG ensemble prize).

That said, both “The Favourite” and “Roma” — which lead the pack with 10 Oscar nominations each — failed to score ensemble nods from SAG.

SAG also overlooked “Roma” stars Yalitza Aparicio and Marina de Tavira, who both earned Oscar nominations. “Vice” was also snubbed in this year’s ensemble category despite earning multiple individual nominations.

Should any of those films ultimately prevail on Oscar night, they would be bucking history. In the last 23 years, only two films have gone on to win best picture after failing to earn SAG ensemble nominations.


Rami Malek as Freddie Mercury in "Bohemian Rhapsody." (Alex Bailey / Twentieth Century Fox)

Rami Malek won lead actor for his turn as Queen lead singer Freddie Mercury in “Bohemian Rhapsody,” following his win earlier this month at the Golden Globes. (In accepting the award, Malek again neglected any mention of the film’s credited director, Bryan Singer, who was fired from the project and has faced allegations of sexual misconduct, all of which he has denied.)

Glenn Close took home the lead actress prize for her role in “The Wife,” a win that, coming on the heels of her victory at the Golden Globes, makes her the clear favorite to finally win her first Oscar after seven nominations.

Last year’s SAG Awards ceremony, coming in the midst of the industry’s sexual harassment scandals, was dominated by issues of gender discrimination and at times wrenchingly emotional speeches. By contrast, this year’s show was a relatively lighter affair, with host Megan Mullally cracking that a SAG Award was “the greatest honor an actor can receive this weekend.”

“Obviously we still have a ways to go, but in 2018 Hollywood did manage to get a few things right,” Mullally joked in her opening monologue. “They cast black people in ‘Black Panther,’ Asian people in ‘Crazy Rich Asians’ and a green book in ‘Green Book.’ ”

At the same time, Mullally wryly pointed to lingering issues when it comes to gender in Hollywood. “Roles for women continue to break new ground,” she said with sarcasm. “Glenn Close played a wife, so that’s new. Melissa McCarthy portrayed a woman who repeatedly apologizes and asks our forgiveness [in ‘Can You Ever Forgive Me?’]. Emily Blunt played a nanny [in ‘Mary Poppins Returns’].”

In the night’s biggest surprise, Blunt won the supporting actress prize for her largely dialogue-free performance in the horror hit “A Quiet Place.” But despite also receiving a SAG nomination for her role in “Mary Poppins Returns,” Blunt failed to crack into this year’s Oscar acting race. That leaves the field open for her fellow nominees, including Amy Adams of “Vice” and “The Favourite” co-stars Emma Stone and Rachel Weisz, as well as Regina King, who won the Golden Globe but was overlooked by SAG for “If Beale Street Could Talk.”

Mahershala Ali won the supporting actor award for his role as virtuoso pianist Don Shirley in “Green Book.” In 2017, Ali used his acceptance speech for the drama “Moonlight” to plead for more tolerance in the wake of Donald Trump’s Muslim ban. Despite controversies that have swirled around “Green Book” in recent weeks, he steered clear of politics this year.


Rachel Brosnahan, center, Tony Shalhoub, right, and Marin Hinkle, left, in a scene from Season 2 of "The Marvelous Mrs. Maisel." (Nicole Rivelli / Amazon Prime Video)

On the TV side, Prime Video’s “The Marvelous Mrs. Maisel” — which failed to earn any SAG nominations last year for its debut season — made a clean sweep of the comedy categories, picking up the ensemble prize as well as individual awards for actor Tony Shalhoub and actress Rachel Brosnahan. NBC’s “This Is Us” picked up its second consecutive ensemble prize in the drama series category.

Sandra Oh claimed the prize for actress in a drama series for the debut season of BBC America’s “Killing Eve,” after her win last month at the Golden Globes. Jason Bateman took home the award for actor in a drama series for the sop****re season of Netflix’s “Ozark,” beating out, among others, “This Is Us” star Sterling K. Brown, who many expected to repeat after his win last year.

In the limited series categories, Darren Criss won for his performance in FX's "The Assassination of Gianni Versace: American Crime Story," while Patricia Arquette was honored for her turn in Showtime's "Escape at Dannemora." In an otherwise conspicuously Trump-free evening, Arquette delivered the sharpest political barb with a shout-out to special counsel Robert Mueller and "everyone working to make sure we have sovereignty for the United States of America."

Alan Alda earned a SAG Life Achievement Award — and a warm standing ovation — in recognition of his illustrious career, including his much-loved role as “Hawkeye” Pierce on the long-running TV hit “M.A.S.H.”

Accepting the award, Alda, who disclosed last year that he has Parkinson’s disease, made the case for the importance of the craft of acting in boosting people’s capacity for empathy, noting it is especially critical in today’s deeply fractured political climate.

“This comes at a time when I’ve had a chance to look back on my life and think about what it’s meant to be an actor,” Alda said. “It may never have been more urgent to see the world through another person’s ideas than when the culture is divided so sharply. Actors can help, at least a little, just by doing what we do.”

[GeneChing]

Oscars winners 2019: See the full list of winners
By Chloe Melas, CNN
Updated 4:09 AM ET, Mon February 25, 2019



(CNN)The 91st Academy Awards was a night marked by historic firsts, inclusiveness and a final twist.

The following is a list of nominees and the winners.

BEST PICTURE
"Black Panther"
"BlacKkKlansman"
"Bohemian Rhapsody"
"The Favourite"
"Green Book" *WINNER
"Roma"
"A Star Is Born"
"Vice"

ACTRESS IN A SUPPORTING ROLE
Amy Adams, "Vice"
Marina de Tavira, "Roma"
Regina King, "If Beale Street Could Talk" *WINNER
Emma Stone, "The Favourite"
Rachel Weisz, "The Favourite"

ACTOR IN A SUPPORTING ROLE
Mahershala Ali, "Green Book" *WINNER
Adam Driver, "BlackKKlansman"
Sam Elliott, "A Star Is Born"
Richard E. Grant, "Can You Ever Forgive Me"
Sam Rockwell, "Vice"

FOREIGN LANGUAGE FILM
"Capernaum"
"Cold War"
"Never Look Away"
"Roma" *WINNER
"Shoplifters"

DOCUMENTARY (SHORT)
"Black Sheep"
"End Game"
"Lifeboat"
"A Night at the Garden"
"Period. End of Sentence." *WINNER

DOCUMENTARY FEATURE
"Free Solo" *WINNER
"Hale County This Morning, This Evening"
"Minding the Gap"
"Of Fathers and Sons"
"RBG"

ORIGINAL SONG
"All The Stars" - "Black Panther"
"I'll Fight" - "RBG"
"Shallow" - "A Star Is Born *WINNER
"The Place Where Lost Things Go" - "Mary Poppins Returns"
"When A Cowboy Trades His Spurs For Wings" - "The Ballad of Buster Scruggs"

ANIMATED FEATURE FILM
"Incredibles 2"
"Isle of Dogs"
"Mirai"
"Ralph Breaks the Internet"
"Spider-Man: Into the Spider-Verse" *WINNER

ADAPTED SCREENPLAY
"The Ballad of Buster Scruggs"
"BlacKkKlansman" *WINNER
"Can You Ever Forgive Me?"
"If Beale Street Could Talk"
"A Star Is Born"

ORIGINAL SCREENPLAY
"First Reformed"
"Green Book" *WINNER
"Roma"
"The Favourite"
"Vice"

ACTOR IN A LEADING ROLE
Christian Bale, "Vice"
Bradley Cooper, "A Star Is Born"
Willem Dafoe, "At Eternity's Gate"
Rami Malek, "Bohemian Rhapsody" *WINNER
Viggo Mortensen, "Green Book"

ACTRESS IN A LEADING ROLE
Yalitza Aparicio, "Roma"
Glenn Close, "The Wife"
Lady Gaga, "A Star Is Born"
Olivia Colman, "The Favourite" *WINNER
Melissa McCarthy, "Can You Ever Forgive Me?"

DIRECTOR
Spike Lee, "BlacKkKlansman"
Pawel Pawlikowski, "Cold War"
Yorgos Lanthimos, "The Favourite"
Alfonso Cuarón, "Roma" *WINNER
Adam McKay, "Vice"

PRODUCTION DESIGN
"Black Panther" *WINNER
"The Favourite"
"First Man"
"Mary Poppins Returns"
"Roma"

CINEMATOGRAPHY
"Cold War"
"The Favourite"
"Never Look Away"
"Roma" *WINNER
"A Star Is Born"

COSTUME DESIGN
"The Ballad of Buster Scruggs"
"Black Panther" *WINNER
"The Favourite"
"Mary Poppins Returns"
"Mary Queen of Scots"

SOUND EDITING
"A Quiet Place"
"Black Panther"
"Bohemian Rhapsody" *WINNER
"First Man"
"Roma"

SOUND MIXING
"Black Panther"
"Bohemian Rhapsody" *WINNER
"First Man"
"Roma"
"A Star Is Born"

ANIMATED SHORT FILM
"Animal Behaviour"
"Bao" *WINNER
"Late Afternoon"
"One Small Step"
"Weekends"

LIVE ACTION SHORT FILM
"Detainment"
"Fauve"
"Marguerite"
"Mother"
"Skin" *WINNER

ORIGINAL SCORE
"Black Panther" *WINNER
"BlacKkKlansman"
"If Beale Street Could Talk"
"Isle of Dogs"
"Mary Poppins Returns"

VISUAL EFFECTS
"Avengers: Infinity War"
"Christopher Robin"
"First Man" *WINNER
"Ready Player One"
"Solo: A Star Wars Story"

FILM EDITING
"BlacKkKlansman"
"Bohemian Rhapsody" *WINNER
"Green Book"
"The Favourite"
"Vice"

MAKEUP AND HAIRSTYLING
"Border"
"Mary Queen of Scots"
"Vice" *WINNER

THREADS
The Academy Awards
Roma
Black Panther
Bao

So nice to get some of the films we've discussed here recognized.