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These 16 Women Are Vying For Best Supporting Actress In The 2018 Oscar Race

Charmaine Blake

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Always one of the Oscars’ most thrilling categories, this year’s Best Supporting Actress race offers an eclectic lineup representing the array of talent Hollywood offers today. There’s 87-year-old veteran Lois Smith and 24-year-old newcomer Bria Vinaite; there are musical numbers, pop-star transformations and undersung troupers who’ve long awaited their due. 

With a few key players moving into the Best Actress lineup namely Allison Williams in “Get Out” and Brooklynn Prince in “The Florida Project” this contest has been whittled down in recent weeks. For now, it looks like a two-way challenge between Allison Janney and Laurie Metcalf, with a handful of spoilers waiting in the wings.

Ranked according to their likelihood of being nominated, here are the 16 women who will hope to earn one of five spots on Jan. 23.

  • 16 Michelle Pfeiffer, “mother!”
    Paramount Pictures
    Say what you will about “mother!,” but it’s almost inarguable that Michelle Pfeiffer is its highlight. After taken a four-year hiatus, Pfeiffer has enough of a comeback narrative going right now that she can remain a factor in this contest despite the movie not becoming the box-office bonanza that Paramount hoped for. The three-time nominee tears through “mother!” with a vengeance, practically daring us to question her power as an actress.
  • 15 Michelle Williams, “The Greatest Showman”
    Fox
    Exactly what’s in store with “The Greatest Showman” has yet to be seen. This big, colorful circus musical — the only non-“Star Wars” contender that hasn’t screened for press — boasts a host of ladies awaiting their splashy curtain calls. The most famous of them is Michelle Williams, who’s also on the Best Actress manifest for “All the Money in the World.” But if “Showman” is worth anything, Williams will have to compete against three co-stars: Broadway dynamo Keala Settle, Zendaya and the always great Rebecca Ferguson. Williams and Settle get solo numbers, which helped Emma Stone (“La La Land”), Catherine Zeta-Jones (“Chicago”) and Rita Moreno (“West Side Story”).
  • 14 Carey Mulligan, “Mudbound”
    Netflix
    The size of the “Mudbound” cast could be its Achilles’ heel. With this many strong performances, how can anyone choose just one — especially when Mary J. Blige is receiving most of the praise? In another year, Carey Mulligan could have snuck in for her reserved turn as an unhappy farm wife in racist Mississippi.
  • 13 Tatiana Maslany, “Stronger”
    Roadside Attractions
    Most of the “Stronger” prestige revolves around Jake Gyllenhaal, but two of the woman in his character’s orbit are making names for themselves, too. Two-time nominee Miranda Richardson gives a lived-in performance as a troubled mother, but it’s Tatiana Maslany who’s collecting the most largess. This movie isn’t singular enough to prevail, but Maslany remains on prognosticators’ lips, having elevating a girlfriend role to a textured portrait of a conflicted Bostonite struggling to find her way in the midst of tragedy.
  • 12 Kristin Scott Thomas, “Darkest Hour”
    Focus Features
    It’s been two long decades since Kristin Scott Thomas earned her only Oscar nomination to date, for “The English Patient.” In “Darkest Hour,” she gives Clementine Churchill a graceful heft that elevates the character beyond a typical wife-in-a-biopic sideshow. The movie has far more going for it than its apparent Oscar-bait dressing, but most of the attention will center on Gary Oldman, who transforms as Winston Churchill via thick makeup and actorly affectations.
  • 11 Bria Vinaite, “The Florida Project”
    A24
    I omitted 7-year-old “Florida Project” breakout Brooklynn Prince from my Best Actress roster, assuming she’d go supporting. But A24 opted not to commit category fraud, which makes more room here for her 24-year-old co-star Bria Vinaite, whom director Sean Baker found on Instagram. Like Prince, Vinaite has a naturalism so blissfully unrefined it’s as if she were making a documentary. She may be too much of a Hollywood outsider at this point to join the Academy’s ranks, unless the group shows a lot of love for “The Florida Project,” which could clinch a Best Picture slot.
  • 10 Lesley Manville, “Phantom Thread”
    Focus Features
    If there’s an MVP of “Phantom Thread,” it’s Lesley Manville, whose glares are worth a thousand daggers. Playing the spinster sister of a fussy dressmaker (Daniel-Day Lewis), Manville may finally get her due. Best known for her work in Mike Leigh’s movies, the acclaimed English actress has never been commercial enough to peak in America. Paul Thomas Anderson’s films are always central to awards conversations, so this one could elevate Manville’s Hollywood profile.
  • 9 Hong Chau, “Downsizing”
    Paramount Pictures
    It’s hard to tell whether “Downsizing” is completely DOA or a massive sleeper candidate that not enough people are talking about. In a surprise move, the National Board of Review named it one of the year’s best movies this week, signaling that it could have legs after all. And anyway, Oscar voters almost always appreciate Alexander Payne’s actors. Hong Chau’s publicity team first started courting press attention over the summer, touting her work in “Downsizing” and HBO’s “Big Little Lies.” She walks away with the former, playing an aggressive Vietnamese activist who becomes the story’s emotional core.
  • 8 Lois Smith, “Marjorie Prime”
    FilmRise
    If 87-year-old Lois Smith earns a nomination, she’ll tie with Gloria Stuart to become the oldest acting honoree in the Oscars’ history. To wit, it would double as a de facto lifetime achievement prize, especially since “Marjorie Prime” went relatively unnoticed when it was released in August. Smith, who revives a role she originated onstage, is the film’s highlight, and she has the added benefit of a magnificent appearance in the much more popular “Lady Bird.”
  • 7 Melissa Leo, “Novitiate”
    Sony Pictures Classics
    Thanks to the controversial for-your-consideration ad she purchased for herself in 2011, Melissa Leo is cemented in Oscar history. That adds to her leverage when it comes to a small movie like “Novitiate,” which hasn’t cracked $1 million at the box office. She chews plenty of scenery as a devout, bitter nun contending with the sudden progressivism introduced by the Catholic Church. In the end, though, this movie’s limited shelf life won’t do her any favors.
  • 6 Tiffany Haddish, “Girls Trip”
    Universal Pictures
    The year’s Tiffany Haddish infatuation is probably getting to me, but it seems like maybe — just maybe — we can make this nomination happen. After “Girls Trip” became a critical and commercial success story, Haddish played her cards right with a bangup Showtime special, a snazzy “Saturday Night Live” hosting gig and a career-defining tweet about informing Barbra Streisand who Cardi B is. The woman is the very definition of an overnight star. The Academy is still dominated by older white men, but its newly diversified membership could be just what Haddish needs. This week, she scored the New York Film Critics Circle prize — hopefully the first of many precursor kudos.
  • 5 Octavia Spencer, “The Shape of Water”
    Fox Searchlight
    Every word that emerges from Octavia Spencer’s mouth in “The Shape of Water” is pitched to comedic perfection. Spencer coats her character’s hardships in the same brassy jubilance seen in her Oscar-anointed roles (“The Help,” “Hidden Figures”). Without even trying, Spencer nearly steals the movie. But that “nearly” is key. Could this performance be a tad too similar to her work in the aforementioned titles? The Academy clearly likes her, but unless “The Shape of Water” is a gigantic hit at the box office this month, this go-round could be easy to write off.
  • 4 Mary J. Blige, “Mudbound”
    Netflix
    Mary J. Blige has gotten it percolatin’ in movies before — “Black Nativity,” “I Can Do Bad All by Myself,” “Rock of Ages” — but for most intents and purposes, “Mudbound” is her breakthrough role. She was nominated as such at the Gotham Awards, which inaugurated the season earlier this week. Blige disappears in “Mudbound,” a sprawling drama about racial tensions in the Jim Crow South circa World War II. This is exactly the type of movie that registers with Oscar: topical, stylish and crawling with bravura performances. Alas, it’s a Netflix release, and the streaming platform has yet to secure a nod for any of its actors.
  • 3 Holly Hunter, “The Big Sick”
    Amazon Studios
    Far too rarely does a jaunty comedy sneak one of its supporting players onto the ballot. Perhaps Holly Hunter can join the likes of Melissa McCarthy in “Bridesmaids,” Amy Adams in “Junebug” and Marisa Tomei in “My Cousin Vinny.” (Imagine if she and Tiffany Haddish were nominated!) When “The Big Sick” premiered at Sundance in January, talk of a nomination for Hunter seemed like one of those pipe dreams that festival-goers gab about at after-parties. But the movie was a runaway hit over the summer, and Hunter has remained part of the awards talk. Three days before Oscar voting begins, Hunter will receive a career achievement prize at the Palm Springs International Film Festival.
  • 2 Allison Janney, “I, Tonya”
    NEON
    Hollywood’s resident scene-stealer, Allison Janney’s remarkable six Emmy wins make her an award show pro. It almost doesn’t even matter that she’s never been nominated for an Oscar: Janney is one of those fixtures whose name alone signals acclaim. She’s playing another kooky mama in “I, Tonya,” specifically Tonya Harding’s foul-mouthed, boozy, parrot-toting mama. The role encapsulates Janney’s flourishing career, containing shades of “Drop Dead Gorgeous,” “Mom” and “The Way, Way Back.” If the biopic becomes a hit when it opens next week, the Toronto Film Festival chatter that crowned Janney will skate on.
  • 1 Laurie Metcalf, “Lady Bird”
    A24
    With three Emmys and a Tony to her name, Laurie Metcalf is halfway toward EGOT certification. What’s more, “Lady Bird” is on its way toward becoming a major hit. The tremendous reviews have helped it earn $12 million and counting, a great start for a limited release booked in fewer than 800 theaters. It’s also helped to keep the buzz surrounding Metcalf’s performance alive. The Oscars tend to prefer showboaters in this category, but Metcalf is one of those actresses whose veteran status makes her an instant pacesetter. She’s affecting as a middle-class mother wading through everyday stresses and setbacks.
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Read more: http://www.huffingtonpost.com/entry/best-supporting-actress-oscar-predictions-2018_us_5a20173be4b0392a4ebbb9f1

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‘Fortnite’ composer Pinar Toprak will score ‘Captain Marvel’

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Image: Brian To/FilmMagic

“Turkish-American composer Pinar Toprak has been hired to compose the score for Captain Marvel, which will premiere in March of next year.

Even if you’re not a film score buff, there’s a good chance you’re already familiar with Toprak’s work. In addition to writing additional music for Justice League in 2017, she is responsible for some of the incredibly catchy music from Fortnite. Yes, the stuff that is stuck in your head all the time…….”

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‘Incredibles 2’ breaks box office records with a whopping $180 million

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Image: disney pixar

“For every unmitigated disaster like Solo, there are multiple other box office hits for Disney. Incredibles 2 is the latest.

The 14-years-later sequel is on a pace to finish off its opening weekend with a $180 million box office haul in the United States. That’s the highest opening to date for any animated release, and for any PG-rated release as well. It’s also the eighth-largest domestic opening weekend ever, overall.

Incredibles 2 soars past another Pixar sequel, Finding Dory, the previous top animated opener. The Finding Nemo sequel launched in 2016 on the same June weekend as Incredibles 2, but it only (only!) managed to pull in $135.1 million in its first three days.

The new $180 million bar will be a tough one for future competitors to beat, though even that record is bound to eventually fall. Inflation and rising ticket prices all but ensure it.

Disney currently has three recent releases in the weekend box office top 10. Solo: A Star Wars Story comes in at #4 on this weekend’s chart, with an estimated $9.1 million. That brings its domestic total up to $192.8 million.

Solo will probably cross $200 million domestic in the next week or two, but it’s currently the lowest-earning live action Star Wars movie to date. There’s even some question at this point as to whether or not it will manage to beat The Empire Strikes Back. Not accounting for inflation, that second-ever Star Wars movie ended its box office run in 1980 with $209.4 million.

Disney’s lowest entrant on this weekend’s box office top 10 is Avengers: Infinity War, at #8. The April 2018 release is still kicking in its eight week after hitting theaters. It picked up an estimated $5.3 million this weekend…..”

Read more: https://mashable.com/2018/06/17/incredibles-2-opening-weekend-box-office-records/

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Apple and Oprah sign a multi-year partnership on original content

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Apple announced today a multi-year content partnership with Oprah Winfrey to produce programs for the tech company’s upcoming video-streaming service. Apple didn’t provide any specific details as to what sort of projects Winfrey would be involved in, but there will be more than one it seems.

Apple shared the news of its deal with Winfrey in a brief statement on its website, which read:

Apple today announced a unique, multi-year content partnership with Oprah Winfrey, the esteemed producer, actress, talk show host, philanthropist and CEO of OWN.

Together, Winfrey and Apple will create original programs that embrace her incomparable ability to connect with audiences around the world.

Winfrey’s projects will be released as part of a lineup of original content from Apple.

The deal is a significant high-profile win for Apple, which has been busy filing out its lineup with an array of talent in recent months.

The streaming service also will include a reboot of Steven Spielberg’s Amazing Storiesa Reese Witherspoon- and Jennifer Aniston-starring series set in the world of morning TVan adaptation of Isaac Asimov’s Foundation books, a thriller starring Octavia Spencer, a Kristen Wiig-led comedy, a Kevin Durant-inspired scripted basketball show, a series from “La La Land’s” director and several other shows.

Winfrey, however, is not just another showrunner or producer. She’s a media giant who has worked across film, network and cable TV, print and more as an actress, talk show host, creator and producer.

She’s also a notable philanthropist, having contributed more than $100 million to provide education to academically gifted girls from disadvantaged backgrounds, and is continually discussed as a potential presidential candidate, though she said that’s not for her.

On television, Winfrey’s Harpo Productions developed daytime TV shows like “Dr. Phil,” “The Dr. Oz Show” and “Rachael Ray.” Harpo Films produced several Academy Award-winning movies, including “Selma,” which featured Winfrey in a starring role. She’s also acted in a variety of productions over the years, like “The Color Purple,” which scored her an Oscar nom, “Lee Daniels’ The Butler,” “The Immortal Life of Henrietta Lacks” and Disney’s “A Wrinkle in Time.”

Winfrey also founded the cable network OWN in 2011 in partnership with Discovery Communications, and has exec produced series including “Queen Sugar,” “Oprah’s Master Class” and the Emmy-winning “Super Soul Sunday.”

The latter has a connection with Apple as it debuted as a podcast called “Oprah’s SuperSoul Conversations” and became a No. 1 program on Apple Podcasts.

Winfrey recently extended her contract with OWN through 2025, so it’s unclear how much time she’ll devote specifically toward her Apple projects.

Apple also didn’t say if Winfrey will star or guest in any of the programs themselves, but that’s always an option on the table with a deal like this. CNN, however, is reporting that Winfrey “is expected to have an on-screen role as a host and interviewer.”

Read more: https://techcrunch.com/2018/06/15/apple-and-oprah-sign-a-multi-year-partnership-on-original-content/

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