2016 Academy Awards Analysis and Predictions

Hello, movie lovers!  I’m sure you are all as excited as we are at Agents of Geek for the 2016 Academy Awards as they are nearly upon us.  We hope that you will be watching, and following, along with us as the awards are handed out and look to spur discussion as to who should have, could have, and will win some of the grandest awards in the film industry.  Here is an outline of the major categories and my thoughts on how the evening should, could, and will, unfold.

Best Original Screenplay

Writing a screenplay is an extremely difficult task.  Writing a screenplay without having it based on prior works is even more difficult, whether the events depicted are real or not.  Original screenplays may or may not be based on real events, but they take real creativity and should be recognized for their quality.  Let’s take a look at the nominees.

Bridge of Spies-Joel and Ethan Coen

Ex Machina-Alex Garland

Inside Out-Pete Docter,


Straight Outta Compton

In evaluating the candidates, and while I enjoyed all of these films, it feels easy to eliminate those that were not nominated for Best Picture, as it is usually an indicator of a screenplay the Academy holds in high esteem.  That takes out Bridge of Spies, Ex Machina, Inside Out, and Straight Outta Compton.  Who does that leave behind?  The seemingly clear cut winner in SpotlightSpotlight is a challenger for numerous awards, including Best Director for the aforementioned Tom McCarthy and Best Supporting Actor Mark Ruffalo, and feels like the easy winner here in a solid group, but one that lacks the distinction of the remaining contenders.  Had Inside Out received a Best Picture nod, like a select number of animated films before it, it may have stood a chance.  Without it, it seems like the emotions in our head will have to watch as Spotlight walks away with the award.

Hoping for: Spotlight

Prediction: Spotlight

Best Adapted Screenplay

Some view an adapted screenplay as merely a copy of a book, but there is much more than such a simple translation.  Being able to take the words, scenery, humor, and spirit of a novel and find a way to put those on a big screen takes not only a steady hand as a director, but a well-written screenplay to attach viewers to the story and characters.  Let’s take a look at the nominees for Best Adapted Screenplay.

Drew Goddard-The Martian

Nick Hornby-Brooklyn

Adam McKay and Charles Randolph-The Big Short

Phyllis Nagy-Carol

Emma Donoghue-Room

Similar to the alternate screenplay award, it is usually easy to eliminate the films that are non-contenders for the Best Picture from this category.  However, in this particular case that only removes one film from the list in Nagy’s Carol, as it is the sole picture to not receive a nomination for the highest honor.  So what then?  The Academy often seems to reward films with multiple major nominations at least once (though not always) and Room feels destined to win an award for Brie Larson at Best Actress, so that could knock it out.  That leaves The Martian, Brooklyn, and The Big Short.  Brooklyn is a fine film, but feels out of its element with the remaining contenders.  The Martian is a fantastic adaptation of Andy Weir’s novel that combined humor and drama, but it feels like a film that will be vastly under appreciated at this year’s awards given the vast competition in the categories where it is nominated.  On similar note, The Big Short feels like a film that will strike out at most major categories and receive a consolation in one like this for the job the writers did in translating what could have been a clumsy, wordy film into something very entertaining.

Hoping for: The Martian

Prediction: The Big Short

Best Makeup and Hairstyling

Quite self explanatory, makeup and hairstyling, although completely separate from costume design, credits those who whose hard work and dedication makes the movies we love look so appropriate to their settings.  Let’s look at the nominees.

The Revenant

The 100-Year-Old Man who Climbed Out a Window and Disappeared

Mad Max: Fury Road

Full disclosure, I did not see The 100-Year-Old Man Who Climbed Out a Window and Disappeared, and after having to type that title out twice I may never so I cannot comment on its chances.  However, having viewed both Mad Max: Fury Road and The Revenant I can honestly say that I am conflicted.  Although I revere the tremendous job done in The Revenant on Leonardo DiCaprio alone, Mad Max: Fury Road layered on the makeup to a much greater extent on far more characters, making it the seemingly easy choice.

Hoping for: Mad Max: Fury Road

Prediction: Mad Max: Fury Road

Best Sound Editing

This category, while vastly important, is usually pretty cut and dry in describing.  Sound editing evaluates the actual sound effects in a film from the revving of car engines to the firing of guns all the way to the hum of a lightsaber.  Let’s see the nominees.

Mad Max: Fury Road

Star Wars: The Force Awakens

The Martian


The Revenant

Fortunately/Unfortunately, this may be a very simple decision as the Academy tends to combine the Sound Editing and Sound Mixing awards.  That isn’t always the case, but more often than not it is and is likely to occur this year.  Spectacle films usually tend to do well in these categories which rockets Mad Max: Fury Road, Star Wars: The Force Awakens, and The Martian above their competition.  The former presents load of glorious, gnarly effects to engulf the senses, whereas the middle plays upon nostalgia and familiarity of the sounds we have grown to love for decades.  Sadly for the latter, while The Martian has some great sequences, the frequent moments on Earth take away the opportunities in space which limited its chances at larger moments of grandeur.  While I have a preference, which I will reveal below, it seems the writing may be on the wall as to what the Academy will choose.

Hoping for: Star Wars: The Force Awakens

Prediction: Mad Max: Fury Road

Best Sound Mixing

Sound editing and sound mixing are very often confused, but as I clarified briefly in the editing post, I will do so once more here.  Sound mixing is not as much the sounds you hear, but the manner in which you hear them from when they are sequenced in the film to the volume at which they are played.  Let’s take a look at the nominees.

Bridge of Spies

Mad Max: Fury Road

The Martian

The Revenant

Star Wars: The Force Awakens

Although many of the same films from the editing category are here, there is an interesting switch from Sicario to Bridge of Spies, which feels even more out of place in the category.  The Revenant, although very well executed from a sound perspective, does not feel like it stands a chance once more.  Once more, it feels as if it will come down to the same three to battle it out Mad Max: Fury Road, The Martian, and Star Wars: The Force Awakens.  Once more, all three are great spectacle films, but the down moments in The Martian seem to rule it out.  While I have a preference, and my personal feelings are the same as before, my gut tells me the Academy will award the same film and allow it to sweep the sound categories.

Hoping for: Star Wars: The Force Awakens

Prediction: Mad Max: Fury Road

Best Film Editing

Film editing is often overlooked by the majority of moviegoing audiences, but is one of the most important aspects of the filmmaking process.  Editors decide which scenes stay and which leave, often rendering the opinion of the director meaningless, in order to piece together the best film out of the hundreds, if not thousands, of clips filmed to form one cohesive product.  Let’s take a look at the nominees.

The Big Short

Mad Max: Fury Road

The Revenant


Star Wars: The Force Awakens

Another category that can often be difficult to predict, as one never knows whether the Academy will side with a special effects or action heavy option or perhaps go with something smaller yet cleverly put together.  The Big Short fills the latter category, and translates its source material well, but often feels overcooked with numerous scenes feeling meaningless by the end.  Spotlight flows extremely smooth given its content, but feels out of its class against the larger spectacle films, if that is in fact what the Academy is looking for.  Mad Max: Fury Road brings the spectacle, but all too many scenes feel unneeded and inconsequential, and, frankly, lift right out of the film. Are the sequences grand in scale and execution?  Yes, but it does not make the story more cohesive and feels as if it is attempting to hide what is actually a mediocre script.  The Revenant is in a similar boat as the journey does represent the majority of the experience, but if you don’t connect with Hugh Glass it is all for wont.  Star Wars would be a fine choice, but not one the Academy is likely to make.  This is the Academy after all, and they are likely to pick accordingly.

Hoping for: Spotlight

Prediction: Mad Max: Fury Road

Best Costume Design

Costumes bring the movies and stories we love to life by capturing the very environment our characters live in many times just based on their manner of dress.  Great costumes can draw viewers in and enrich the tone of films in a way that subconsciously envelopes our senses.  Let’s take a look at the nominees.

Sandy Powell-Carol

Sandy Powell-Cinderella

Jacqueline West-The Revenant

Paco Delgado-The Danish Girl

Jenny Beavan-Mad Max: Fury Road

First off, hats off to Sandy Powell for a double nomination this year, as well as a long history at the awards that has seen her nominated-and winning-multiple times in the past.  Many times the Academy is swayed by individuals who have a track record in technical categories which could bode well for Powell in her quest for Oscar number four.  However, all is not assured.  For one, there is change the academy splits the votes, although Cinderella seems the far easier choice than Carol and is not nominated for any other award.  However, once more Mad Max: Fury Road looms with Jenny Beavan’s excellent work in creating a dirty, grimy wardrobe that encompasses the world the characters live in.  Not to be ignored, Jacqueline West did fabulous in doing much of the same for The Revenant, which also used its period perfect clothing to further engross viewers in the western epic. Unfortunately for Paco Delgado, while The Danish Girl did have visually appealing aspects to its costumes and use of color, he feels overmatched against his combatants.

Hoping for: Jacqueline West-The Revenant

Prediction: Jenny Beavan – Mad Max: Fury Road

Best Production Design

Continuing the technical categories, production design is the actual inventiveness of the movie as a whole, including sets, locations, graphics, props, lighting, camera angles, and costumes.  While many of the aspects of production design mirror that of numerous other categories, the category is given its own distinct award.  Let’s take a look at the nominees.

The Danish Girl

Mad Max: Fury Road

Bridge of Spies

The Martian

The Revenant

Although I will likely show my bias, I am shocked to not see Star Wars: The Force Awakens nominated like it is for various other technical categories, as it would have fit perfectly and potentially challenged for the award.  The Danish Girl and Bridge of Spies have their merits, but feel out of place from the other contenders.  Once more returning to the spectacle films, The Martian is likely to be held back like it has from other categories with its more restrained aspects.  That leaves Mad Max: Fury Road and The Revenant to once more battle it out for the award.  Neither film is as unique as the media will lead you to believe, especially with Fury Road being the fourth entry in a franchise that hasn’t altogether changed greatly outside of growing budgets, and The Revenant isn’t wholly different from other survivor films.  I am pulling for the inventiveness of the great outdoors and capturing it in its equal beauty and ferocity, but it is difficult to say where the Academy will be swayed.

Hoping for: The Revenant

Prediction: The Revenant

Best Original Score

Many things go into making a quality film: the performances, the characters, the direction, the location, and the writing.  Without discounting those, one element often overlooked is something that we cannot see, but is experienced throughout the entire course of the film and that is the score.  The music in a film can help us experience emotions that we don’t even realize we are feeling as soaring notes play in the background.  It takes the work of a fantastic composer to know how to arrange music that properly complements moments ranging from profound to simple, and this category recognizes those people.  Let’s look at the nominees.

Ennio Morricone-The Hateful Eight

Carter Burwell-Carol

John Williams-Star Wars: The Force Awakens

Thomas Newman-Bridge of Spies

Jóhann Jóhannsson-Sicario

Outside of Best Picture, this is one of the toughest categories to sift through as each picture is well thought of and multiple composers who are of near legendary status in Hollywood.  Burrell’s score is subtle, elegant, and understated, which is occasionally recognized, but it lacks the sweeping tones of the rest of the list.  Similarly, Jóhannsson builds tension well with simplistic, yet complex notes, but the lack of a notable “call out” sequence is likely to render him out of the contest.  Newman’s score features some brilliant tracks, but the film lacks moments big enough for the music to soar to.  While the Academy does not always give out awards based on lifetime achievements, I can’t help but feel it will be down to the remaining two icons to battle it out.  John Williams returns to the Star Wars franchise for the seventh time, and while some tracks feel very familiar, there is a great deal of new material and themes that feel traditional while being altogether new.  Meanwhile, Ennio Morricone gives The Hateful Eight the dramatic, grand scale punch that the film lacks at points while having multiple signature moments typically found in Tarantino films.  I am pulling for Williams and Star Wars: The Force Awakens, but I feel like Morricone and The Hateful Eight will pull the potentially surprising victory.

Hoping for: John Williams-Star Wars: The Force Awakens

Prediction: Ennio Morricone-The Hateful Eight

Best Visual Effects

Another category that could be a slam dunk, but is filled with worthy nominees.  It is always difficult to predict where the Academy will be swayed: will they go for practicality, CGI, or a blend of the two?  Will a science fiction candidate stand a chance or will they prefer something more ground in reality?  It’s never easy to guess, but let’s look at the nominees.

Ex Machina

Mad Max: Fury Road

The Martian

The Revenant

Star Wars: The Force Awakens

Once more, my heart and my gut pull me in different directions.  As much as I enjoyed the beautiful CGI done on Alicia Vikander’s body in Ex Machina, it doesn’t stand a chance against these juggernauts.  In the same vein as before, The Martian is a worthy entry, but with so many quieter, less visual heavy moments, it feels as if there just isn’t enough punch to lead this category.  The Revenant is visually stunning, where I believe it will be recognized in another category, but its visual flair is more due to excellent timing and camera work than the actual visuals themselves.  Once more, I believe it comes down to Mad Max: Fury Road and Star Wars: The Force Awakens.  Mad Max: Fury Road is a visually arresting, flurry of chaos with a fantastic blend of both practical effects and CGI.  Star Wars: The Force Awakens utilizes far more CGI and sequences in space, but also blends practical models of ships, buildings, and characters to give the film a well rounded feel.  And lightsabers, I can never not mention lightsabers.

Hoping for: Star Wars: The Force Awakens

Prediction: Mad Max: Fury Road

Best Cinematography

Cinematography, for those who won’t exactly understand what it means, is quite simply the actual filming process.  Beyond the actors, the music, the effects added in after, and the general sound, is that we are watching a picture on a screen.  It is the job of the director to give guidance as to what the vision of the screenwriters is and inspire the actors to bring the best performances possible, but even more important is to imprint this vision onto the cinematographer to capture exactly what that means on film.  The cinematographer makes sure that the film is framed well, shot well, has proper lighting, and captures the actors at their best in order to create the most fluid film experience possible.  Let’s look at the nominees.

Emmanuel Lubezki-The Revenant

Edward Lachman-Carol

Roger Deakins-Sicario

John Seale-Mad Max: Fury Road

Robert Richardson-The Hateful Eight

While seeming cruel, it is easy to eliminate Carol from the discussion immediately as it is a far more simplistically shot film than the rest.  While I enjoyed The Hateful Eight, it is difficult to argue its case over the rest either, as its tight confines and occasionally languid pace did not lend itself as captivating as the rest.  Each three remaining films are not without their merit.  Roger Deakins has been at the helm of films from Shawshank Redemption to A Beautiful Mind, from No Country For Old Men to Skyfall, most recently Prisoners, and now Sicario.  Deakins has been nominated twelve times without one Oscar win, and his work on Sicario is all the more impressive given the starkness of the film and how his work behind the lens elevates it beyond the not unfamiliar subject matter and bleakness.  But challengers still wait in the weeds.  John Seale and Mad Max: Fury Road are nominated for yet another technical based category and is hard to argue against a film of such magnificent visual proportions.  However, this feels like one tech award that The Revenant will steal away from Fury Road as the emphasis on natural lighting and the grueling conditions in which it was filmed makes it feel like a lock for Emmanuel Lubezki’s third win in a row.

Hoping for: Emmanuel Lubezki-The Revenant (or Roger Deakins if it keeps him making films)

Prediction: Emmanuel Lubezki-The Revenant

Best Supporting Actress

The award is self-explanatory enough, and does not require any rambling beforehand.  Let’s get right to the nominees.

Jennifer Jason Leigh-The Hateful Eight

Kate Winslet-Steve Jobs

Rooney Mara-Carol

Alicia Vikander-The Danish Girl

Rachel McAdams-Spotlight

One of the more difficult categories to predict as there has been a great deal of variation amongst these actresses across prior award shows.  Kate Winslet is a long recognized actress in both small and large roles, and her win at the Golden Globes can make some feel she is poised to garner the victory.  However, she faces stiff competition in both Rooney Mara and Alicia Vikander for their respective turns in Carol and The Danish Girl.  Both women play roles in the film that could very easily be considered leads, but here they end up against women who really were the supporting characters in their films.  Mara carries the film of Carol, even though she is not the titular character, and represents its emotional center and through-point.  Alicia Vikander should have been double nominated for her work on Ex Machina over Rachel McAdams and Jennifer Jason Leigh, who do fine work, but not at the level of the rest of the women on this list.  That lack of double nomination could work in Vikander’s favor as it leaves her votes less likely to be split, but the Academy may not be so swayed.  Although Winslet has been an Academy darling before, her smaller role in her film lends me to believe that she will be passed for one of the younger, more leading ladies.  Given its critical love, but probable lack of wins, I see the Oscar going to Mara for her excellent work on Carol, and leaving Vikander without a well deserved win.

Hoping for: Alicia Vikander-The Danish Girl

Prediction: Rooney Mara-Carol

Best Supporting Actor

Easy enough to understand.  Let’s get to the nominees.

Christian Bale-The Big Short

Mary Rylance-Bridge of Spies

Tom Hardy-The Revenant

Mark Buffalo-Spotlight

Sylvester Stallone-Creed

In all honesty, this is the toughest category for me to choose a winner because I loved the performances from each of these men in their respective films.  Christian Bale plays the most difficult, and interesting, character in the heavily nominated The Big Short, but it will likely win little hardware on the evening despite its heavy critical acclaim.  Mark Rylance elevates Bridge of Spies to new heights by playing an excellent pseudo foil to Tom Hanks and does one thing few human beings can claim to have done: he becomes the more compelling character in a movie opposite Hanks.  Tom Hardy is captivatingly dirty in The Revenant and steals virtually ever scene he is in.  Mark Ruffalo is the beating heart that adds so much life and emotional weight to the already heavy subject matter of Spotlight.  Lastly, Sylvester Stallone continues to bring the Rocky Balboa character full circle in his seventh iteration in the franchise with an emotional performance.

While Stallone won the Golden Globe, and the hearts of many millions, I can’t help but feel as if his performance is no more of a standout than his turn in the film Rocky Balboa, for which Stallone was not even nominated.  That tied to Creed’s lack of nominations makes it hard for me to believe Stallone has a chance on the grandest stage.  But where to go from there?  Hardy, while excellent in The Revenant feels like he could be overshadowed by Leonardo DiCaprio on the evening even though both delivered excellent performances.  Ruffalo steals more scenes than anyone else in Spotlight, but most of those are humorous and he only has a few very powerful scenes in the film.  Rylance, to his credit, steals every scene he is in from a master actor like Tom Hanks in a film that I believe will largely go unrecognized at this year’s awards.  Yet, I can still see Bale stealing this race for being in a movie the Academy loves, but likely will go unrecognized during the evening proceedings.  I’ll take a shot in the dark on this one, even if is not who I want to win or think necessarily has the best chance of winning in what is a very wide open race.

Hoping for: Mark Rylance-Bridge of Spies

Prediction: Christian Bale-The Big Short

Best Actress

Let’s keep the nominees rolling.

Cate Blanchett-Carol

Brie Larson-Room

Jennifer Lawrence-Joy

Charlotte Rampling-45 Years

Saoirse Ronan-Brooklyn

Full disclosure once more, I did not have a chance to watch 45 Years, nor do I personally know anyone who has.  Although, I read numerous reviews and have heard excellent things about the film and Charlotte Rampling’s performance.  Typically, the Academy has not appeared keen on awarding smaller films as often as they have those with larger releases when it comes to larger awards.  It happens, but the overwhelming majority of the time larger awards go to films people are at least somewhat familiar with and this feels like another one of those years.  Although that likely precludes 45 Years, that is not a discredit to the film or Rampling.  However, what that leaves is the remaining ladies and their chances.  As much as I enjoyed Brooklyn, quite possibly one of the most well executed romance movies in recent memory, Saoirse Ronan’s performance is more subtle than others on this list and lacks the emotional punch usually required to take home the reward.  That is not an indictment on her role, but more the way the character appears to be written and this subdues aspects of her work.  Jennifer Lawrence is great in joy, but the film lacked the critical acclaim usually required to take home some of the highest honors.

It feels as if this is a battle between the heavyweights of Blanchett and Larson; one the highly acclaimed, well established, veteran actress, and the other, a young up and comer who came out of nowhere to dazzle us.  However, while Carol will have some opportunities at victories throughout the night, where I feel like it will win for Best Supporting Actress, Room is more likely to go home with less hardware, an opportunity the Academy may seem worthy of rectifying in one of the largest categories.  Larson is astounding and carries the movie from beginning to end, even if Jacob Tremblay is able to steal the hearts of many in his impressive scenes, and represents the real, human anchor of the film that relies on her performance to work.  My non-money is on Larson.

Hoping for: Brie Larson-Room

Prediction: Brie Larson-Room

Best Actor

I mean, Leo has to win sometime, right?

Leonardo DiCaprio-The Revenant

Eddie Redmayne-The Danish Girl

Matt Damon-The Martian

Michael Fassbender-Steve Jobs

Bryan Cranston-Trumbo

Well, maybe not.  Things are never that easy for DiCaprio, and this year shows us exactly why.  Returning winner Eddie Redmayne is once more excellent in The Danish Girl, and we all know the Academy loves socially relevant movies AND period pieces, which the film fulfilled both requirements.  Matt Damon carries the weight of The Martian on his back not unlike how Tom Hanks did in Castaway, for which he won an Academy Award.  Michael Fassbender has received enormous critical praise for the vastly under-watched Steve Jobs for his ability to transform himself into the Apple co-founder and mastermind in a dazzling turn.  Bryan Cranston does an exemplary job is Trumbo in a similarly transformative role, but the film lacked the critical acclaim of the others and received little fanfare at the box office as well.

It feels as if the stars are aligned for this to be Leonardo DiCaprio’s year.  Much like Damon, he carries the emotional, and human, weight of the film on his back, and like Redmayne, Fassbender and Cranston, he transforms himself into a character so different from himself that he quite literally loses pieces of his identity in the process due to his willingness to commit to the film.  I almost feel as if not picking DiCaprio jinxes him, and I hope he has finally earned his long awaited fist Oscar.

Hoping for: Leonardo DiCaprio-The Revenant

Prediction: (blank)-Not The Revenant (just kidding, Leonardo DiCaprio-The Revenant)

Best Director

Almost there folks, stay with me.

Alejandro González Iñárritu-The Revenant

Tom McCarthy-Spotlight

Adam McKay-The Big Short

George Miller-Mad Max: Fury Road

Lenny Abrahmason-Room

As per usual, this category is difficult to sift through due to the sheer number of highly acclaimed films involved in the mix.  Each director is not listed without proper merit as each filmmaker is not only deserving of this honor, but each of these films is nominated for the highest honor.  Iñárritu won last year and his job on The Revenant in horrid weather conditions and lighting is nothing short of astounding.  Tom McCarthy’s role in making Spotlight not only highly watchable, but entertaining despite the horrifying content.  Adam McKay took something like mortgages and real estate loans in The Big Short and made them into an enjoyable movie that almost made people like me understand the housing market.  George Miller, at the young age of 70, brought one of the most bold, daring action movies in recent history come to vibrant, explosive life in Mad Max: Fury Road.  Lenny Abrahamson took a small room and made it the center of not only the character’s universe, but the audience’s as well in the aptly title Room.

While I know how I feel, I have no idea where the Academy is leaning, as many other awards have been split from one film to the next.  Mad Max: Fury Road is likely to win a vast number of technical awards, and thus seems destined to win another major award here.  However, Fury Road is an action film, and the Academy rarely rewards movies of this bombastic of a nature the Best Director award.  Winning such an award would make this one of the Academy’s boldest decisions ever, and the Academy is not wont to make bold choices.  On the other hand, The Revenant is a period piece, is well balanced with action and drama, without being flooded with too much of either.  It simply has more of what the Academy likes recognizing in a director, and Iñárritu is likely to become the first back to back winner in over 60 years.  The added benefit of choosing a non-white director amidst the racial controversy surrounding the events is merely an added bonus.

Hoping for:  Alejandro González Iñárritu-The Revenant

Prediction: Alejandro González Iñárritu-The Revenant

Best Picture

The biggest award of them all needs no introduction.

The Big Short

Bridge of Spies


Mad Max: Fury Road

The Martian

The Revenant



In evaluating the realistic prospects of each film, it feels easy to eliminate those who did not have their director nominated for the prior category.  Unfortunately, that means that Bridge of Spies, Brooklyn, and The Martian are all highly unlikely to take home the top prize.  It is not impossible, as seen with Argo and Ben Affleck, but it rarely happens.  That brings us back to the same five films from the Best Director nominees, and frankly, I have no idea where the Academy will lean.  Chances are they will pair whoever wins Best Director, and as I picked The Revenant there, it only seems fitting I do here as well.  However, the awards race leading up to the Oscars has been far from conclusive as The Big Short, Mad Max: Fury Road, and Spotlight have all racked up a great deal of hardware from various sources.  Do they stand a chance against the similarly recognized The Revenant?  Absolutely. Will I be mad if any of these films win? Outside of Mad Max: Fury Road (a film I did enjoy, but just don’t feel like it deserves the acclaim it has received), not at all.  Do I think they will take home the highest honor?  Not this time.

Hoping for: The Revenant

Prediction: The Revenant

That is all for my Oscar predictions here at Agents of Geek!

I did not make predictions for every category as I did not feel equipped to do so with such limited exposure to many, or any, of the nominees for them.  Do I hope Inside Out wins for Best Animated Feature?  Yes, but only because I did not have a chance to see any of the others due to limited releases I was not able to attend (and I am still disappointed The Peanuts Movie wasn’t nominated).  Therefore, I do not feel my opinion is informed enough to make an accurate prediction or summarization of the combatants and do them proper justice.  The same can be said for Best Documentary, Best Documentary Short Subject, Best Live Action Short, Best Animated Short, and Best Foreign Language Film.  At some point, I hope to catch all of these nominees, but I do not currently feel I have the necessary knowledge of them and because of this I will leave them unaddressed.

Let me know who you are rooting for and who you think will win in the comments below!  We will be live tweeting the results @AgentsOfGeek as they come in and updating our Live Blog as the night goes on. Join in on the conversation on Twitter by using the hashtag, #OscarsAoG. Hope to hear your thoughts and reactions over the course of the evening.  Feel free to follow and tweet me @Cdoleshel and let me know what you think about the winners as they are announced as well.

The 2016 Academy Awards are hosted by Chris Rock on February 28, 2016, with coverage of the Red Carpet begins at 7pm Eastern/4pm Pacific and the ceremony beginning at 8:30pm Eastern/5:30pm Pacific, all on ABC.

Check out the Official List of Nominees HERE.

A printable Official List of Nominees can be found HERE.

The Author

Craig Doleshel

Craig Doleshel

I'm just a guy who loves movies and writes about them sometimes. I also talk about them sometimes too.

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