The Isaacs 2017 – Filmoria’s Alternative Academy Awards

We’ve had the Golden Globes, we’ve had the SAG Awards, and the BAFTAs arrive this weekend. Awards Season is well-and-truly underway, and all sights are set on the performers, and filmmakers who will walk away with that coveted Academy Award later this month.

Here’s the thing though: the Oscar nominations were pretty terrible. Okay, seriously terrible. So much so that it became our duty to the art form we cherish, and right the many wrongs of the Academy, and to do this, we have devised The Isaacs. You know, because why win an Oscar when you can have an Isaac?

The rules for Filmoria’s spectacular (and alternative…) Academy Awards is simple – any film, performer, or filmmaker is eligible for an award providing they have not been nominated for an Oscar in that respective category (so La La Land is pretty much a no-go here; soz Chazelle…). Our hard-working team have dug deep into the past twelve months of film, and devised a comprehensive list of winners for our debutant ceremony, which is set to become an annual feature on the site.

We’d love to hear your thoughts on our winners, and indeed the people and pictures that you would present with a lovely golden Isaac, because who wouldn’t want a shimmering Poe Dameron upon their mantelpiece? Be sure to check out our staff’s individual list of winners following the Isaac presentations, too!

Freda Cooper presents the Isaac Award for Best Picture to…

Paterson

Source: Festival de Cannes

Driving a bus is stress free, cupcakes come in black and white and a box of matches inspires a love poem. It’s the world of Paterson, winner of the ultimate accolade from The Isaacs, Best Picture, and it’s one where the ordinary is infused with the rare ability to inspire the special and the beautiful. Jim Jarmusch’s most delicate of fables is full of loving little details, beguiling simplicity and understated humour. Paterson himself shares his name – his first or last name? we don’t know – with his home town, Paterson New Jersey. There is much more to the man who would be a poet, most importantly his reasons for embracing what seems to be the most ordinary and repetitive of lives, but they’re buried deep, making only the most fleeting of appearances. And the role produces a career best performance from Adam Driver, one that deserves far more recognition than it’s earned.

Paterson brings to life Jarmusch’s oft quoted opinion that “the beauty of life is in the small details, not in big events.” As it weaves its spell of rhythmic everyday life, minute observations and thoughtful, tender poetry, the film washes over the audience with an irresistible warmth. And, while it is all about those small details, it also never fails to remind us that, for the people involved, they are anything but small. [FC]

Chris Haydon presents the Isaac Award for Best Director to…

Pablo Larraín – Jackie 

Source: IndieWire

Few films, regardless of genre or style, are quite as audacious as Pablo Larraín’s Jackie. It is a work of observational genius; forensically dissecting its titular character by underpinning her emotions, humanity, and philosophy. This carefully curated study is as meticulous and uncompromising as the skill demonstrated by Larraín’s lens throughout. Refusing to adhere to conformity, the auteur relishes in originality, texturing his narrative across multiple – and often contradictory – strands, as Natalie Portman’s First Lady shifts from grieving widow, to wide-eyed, heightened-smiled media mogul, to sternly-controlled interviewee, and everything else in between.

For every finite inch of her astonishing performance is Larraín’s camera; raring to record. He guides her traumatic odyssey with glacial, surgical intent. There is no room for deliberation, nor debate: he is constructing high art with almighty brushstrokes, and Portman is his exquisite canvas. He shoots close, and holds in frame: absorbing every single drop of sorrow, remorse, regret, and power. It never, ever attempts to glamourise its subject, and refuses to adhere to patriotic tendencies. Because, put simply, Jackie is monumental filmmaking. Larraín harnesses the rarest type of celluloid splendour, which beautifully and brutally captures the human condition whilst simultaneously offering a sobering recollection of an iconic historical event. The term “masterpiece” is thrown around so brazenly in modern criticism that largely the term feels redundant, but Jackie is a masterpiece. This daringly lyrical and aesthetically divergent piece – much like its central heroine – will be recalled for many years to come, and no other filmmaker warrants the Isaac Award more so than the great Chilean poet. [CH]

Sarah Buddery presents the Isaac Award for Best Leading Actor to…

Daniel Radcliffe – Swiss Army Man

Source: Collider

After starring in one of the most popular film franchises of all time, Daniel Radcliffe ran the risk of either being typecast in other Harry Potter-esque roles, or sinking into the depths of obscurity, which is all too common with child actors. Fortunately, he has done neither of these, and kudos to Radcliffe himself or anyone else who is selecting roles for him, because he has consistently made excellent choices in his post-Potter acting career. Kicking off with a full-frontal nudity on-stage role in Equus, and ending up where we are now, playing a farting corpse in indie film Swiss Army Man, the trajectory of Daniel Radcliffe has been nothing short of remarkable.

He brings more personality and humanity to a corpse than you would ever think possible, and his incredible physicality is worth a mention alone. He’s tossed about and contorted into all sorts of positions imaginable, but yet retaining such a remarkable sense of humanity, depth, emotion and passion, that he never runs the risk of becoming a mere prop. It is a deeply unflattering role, but he attacks it with all the adeptness of a seasoned pro. Swiss Army Man may have been a little too “out-there” to garner the attention of the Academy, but Radcliffe is fully deserving of a Best Actor award, and his incredible performance in this film is testament to that. [SB]

Scott Allden presents the Isaac Award for Best Leading Actress to…

Amy Adams – Arrival

Source: IndieWire

After her rather glaring omission from this year’s Oscar nods, The Isaac for Best Actress is thoroughly deserved by Amy Adams – for her phenomenal display in Denis Villeneuve’s Arrival. It is not just worthy of acknowledgment for the past year in film, but also for the last 5 or so years in terms of acting prowess and defining roles. The film was widely acclaimed for its refreshing take on the alien contact formula – substituting the familiar ‘invasion’ angle in favour of a more mature and realistic approach to such a global event. Shining a light on mankind’s ability and sometimes inability to connect and communicate.

Adams’ central role as linguist Dr Louise Banks is a beautifully understated performance . The character’s anxieties, academic intrigue and sheer wonder all tangible throughout – it’s deftly exhibited with a talent so natural and almost effortless from Adams. With her likability as a performer further enhancing the audience’s investment in the character of Dr Banks. In particular when the story’s subtle twist is revealed and we begin to see the full extent of Louise’s part in the grand scheme of the film – where we learn how a past tragedy is not all it seems.

Whilst the film can be acclaimed for an exquisite script, direction and ambition, it is unquestionably Adams’ who elevates it. If you’re yet to see Arrival, it is strong contender for one of the finest films of the last year – worth every minute of your time. [SA]

Darryl Griffiths presents the Isaac Award for Best Supporting Actor to…

John Goodman – 10 Cloverfield Lane

Source: IndieWire

Ditching the thrilling found-footage monster movie thrills of its 2008 sort-of predecessor, plunging its audience into a tense and immense psychological thriller, the secrecy that engulfed Dan Trachtenberg’s 10 Cloverfield Lane in a ‘teasers for teasers’ climate was a refreshing tonic. With the tight framing of its taut bunker-based premise, it’s only fitting that you’re left transfixed by the compelling, chilling complexity of John Goodman’s stellar showing as Howard Stambler. In a role where you’re literally hanging off his every word, the subtle shifts in his persona that drive Mary Elizabeth Winstead’s feisty heroine to plan an audacious escape are truly menacing. The initial lack of empathy on display as he demands respect from Michelle (Winstead) for keeping safe from the terrors that seemingly lurk above.

Juxtaposed with his regular mentions of his ‘daughter’ Megan that could be interpreted as a way of humanising the character, only accentuating the ambiguity, leaving you further questioning the mental capacity of Howard. Yet the real constant trait of his character is his craving for control, epitomised by a spine-tingling showpiece that is masterful in misleading the viewer, as we can only look on in horror as he utters the words ‘I accept your apology’. A reliable on-screen presence, playing a protagonist who is a far cry from possessing such a quality. Goodman is just glorious. A career-best? Quite possibly. [DG]

Scott Allden presents the Isaac Award for Best Supporting Actress to…

Angourie Rice – The Nice Guys

Source: Collider

The Nice Guys may not have lit up the box office, but it was one of the better-received films of the year. Many citing Shane Black’s writing and Ryan Gosling’s performance as the standouts. Though there is a certain diamond that looks to outshine the rest – the performance of Angourie Rice. The 16 year old Australian native portrays Holly March, daughter of private eye Holland (Gosling). Who incidentally, finds himself at a troubled point both in his career as well as his private life in the movie. Forcing young Holly to become more independent and at times the righteous hand on his shoulder. Miss Rice conveys sharp wit reasoning and wiseness beyond her years in her performance, and it never feels overabundant or fails to make an impact on both the characters or the events of the film.

At the eventual pairing of Holland and hot-headed muscle for hire, Jackson Healy (Russell Crowe), Holly proves to be the anchor of the two. Instead of being sidelined as ‘just a kid’, she is most certainly the foil to the pair and really the moral compass. With her own personal issues put aside for the greater good as she strives to keep both men on an even keel. Her stern manner, and at times serious moments against Gosling and Crowe also make for brilliant deadpan-like humour. Rice’s best moments in the film are when she is seen separately with Gosling or Crowe – and pretty much lays down the law with both. She is confident and commanding against both of these troubled men, yet there is always that lingering sense of vulnerability. Stemming from Rice’s expressive honesty and reactions.

This ironic role reversal is even more poignant as Holly is essentially playing the role of the mother, a courtesy that she had tragically lost. She’s in fact the real adult of the trio. And quite possibly the real hero of the hour. It’s refreshing to see such a confident and measured performance from an actress of her age. In a role that could have easily had been written with a much older talent in mind. [SA]

Chris Haydon presents the Isaac Award for Best Original Screenplay to… 

Toni Erdmann – Maren Ade

Source: IndieWire

One of the most frequent complaints in modern cinema is the lack of originality. It is the fuel for many heated debates amongst cinephiles and spectators across the globe. Well, if you are one of the many searching for a unique filmgoing experience, look no further than writer-director Maren Ade’s creatively ambidextrous, and virtually uncategoriseable Toni Erdmann; a film which is side-splitting, surprising, soulful, spiky, delusion, demented, and everything in between. Ade’s volcanic dialogue and storytelling is some of the strongest on offer this awards year, and arguably in modern German filmmaking, too.

It expertly curates a landscape of loneliness, sociology, awkward reunion, and situational abuse thanks to the immaculately realised screenplay, and simply beautiful performances from Sandra Hüller and Peter Simonischek. At its most basic, Toni Erdmann details the most delicate of relationships – the bond shared between a father and his daughter – but the film is lightyears from basic. In fact, for a work of 162 minutes in length, Ade’s prose is laden with blink-and-you’ll-miss-it genius. The slightest of gestures convey the largest of meanings. The subtleties of silence ripple with potent decibels. The gears shift from hilarity to tragedy with such finesse that you’ll barely notice the vast transition. Only when the mammoth duration concludes do you truly realise you’ve witnessed something truly special, and truly memorable. [CH]

Kevin Perreau presents the Isaac Award for Best Adapted Screenplay to…

Deadpool – Rhett Reese & Paul Wernick 

Source: Collider

Deadpool was easily one of the most enjoyable rides in the cinematic world in 2016, which also happened to change the game for superheroes and indeed R-rated movies. This was not your average comic book movie, not only was it an origin story, it was a romantic comedy and a fun action adventure. With a small budget and a tiny yet dedicated team, Deadpool managed to take the essence of the comics, bringing justice to its name for so many fans who were appalled by the monstrosity in X-Men Origins: Wolverine. Rhett Reese and Paul Wernick’s hilarious and surprising screenplay successfully managed to break down the fourth wall with elegance and ease. In fact, there was so much right in this film, it’s easy to forget all the horrible X-Men films.

From the easily persuaded cab driver, to TJ Miller’s hilarious antics and Leslie Uggams moving adaptation of Blind Al, there wasn’t a character who was underwritten. Also seemingly like the role Ryan Reynolds was meant to play, the fast-paced witty remarks combined with his irresistible charm, it’s extremely hard not to love it when Deadpool disobeys cinematic practice, and enjoys a good ol’ chit-chat with the audience. four. For once, a comic book movie managed to make us feel a part of their world; to have some fun with the genre and storytelling. For every superpower and amazing action sequence in the film, the storytelling and characterisation ensured everything still felt grounded. The action love-drama origin story that is Deadpool served as the perfect retelling of the beloved comic book character onto the big screen. [KP]

James Thompson presents the Isaac Award for Best Cinematography to…

The Neon Demon – Natasha Braier 

Source: ComingSoon

Working with such a unique director like Nicholas Winding Refn, cinematographer Natasha Braier created something truly remarkable in the visual aesthetics of his enthralling 2016 movie, The Neon Demon. A picture drenched in neon, plush landscaping and featuring a whole host of defining shots that would become somewhat striking in their representation of the film, Braier used all her expertise to produce something truly fantastic.

Considering the film’s small $5 million budget compared to other films of its scale and nature, The Neon Demon thrives in the use of its locations, each one carefully selected to create the best in visual experiences. From the opening mesmerising credits, to the gold paint scene, and all the way through to the finale that provides a gut-wrenching experience, each scene within the film oozes eye-catching beauty and elegance within a dark and brooding story. It’ll be hard to match the striking nature of Natasha Braier’s work but an Isaac award may be shiny enough to do the job! [JT]

Darryl Griffiths presents the Isaac Award for Best Animated Feature to…

Finding Dory

Source: IndieWire

The almost self-referential narrative of Inside Out, from a company who have been expertly pushing audiences’ buttons for little over two decades. The audacious wonder of Wall-E, a predominantly silent film. Yet for all the praise Disney/Pixar have received in pushing the genre boundaries, there have been recent suggestions the sequel syndrome that has crept into their projects, has diminished the quality. For once, the short-term memory loss suffered by Ellen DeGenere’s whale-speaker is a blessing, as the superb Finding Dory defies such claims. Instantly drawing you in to the deepest depths of its emotive story within the first frames as Thomas Newman’s beautiful score anchors proceedings, Dory’s journey of being reunited with her parents (voiced by Diane Keaton and Eugene Levy) is a joy to behold.

Its animation beautifully crafted as its pacing is thrillingly frantic complimenting the mindset of Dory, this sequel allows us to truly connect with the struggles faced by the beloved blue fish. If her involvement in ‘Nemo was consistently played for laughs, then ‘Dory subverts those expectations in empathetic fashion through the subtlety of DeGeneres’ voice work, with its encouragement to others that suffer such disabilities to show similar tenacity and resilience a wonderful family-friendly message. A narrative structure that deftly compliments the original. An emotional crescendo that truly tugs at the heartstrings. And an unlikely Sigourney Weaver cameo. Keep swimming? Finding Dory soars to the surface and straight into your heart. [DG]

Scott J. Davis presents the Isaac Award for Best Original Score to…

The Neon Demon – Cliff Martinez 

Source: IndieWire

There was much anticipation surrounding the release of The Neon Demon, the latest visual extravaganza from the acclaimed Nicolas Winding Refn. And he delivered in spades with a visceral, hypnotic, intoxicating horror film about the fashion industry and those who are ensconced by it, as we follow young model (Elle Fanning) as she chases her own ‘American Dream’. But as beautiful and haunting as Refn’s film is, it owes a huge debt (once again…) to the musical genius of composer Cliff Martinez who produces a mesmeric score that penetrates through the visuals and gives them a symphonic undertone, adding an additional level of amazement. Taking his cues from such visionaries as Vangelis, Giorgio Moroder, Tangerine Dream, Goblin and Kraftwerk, it’s arguably the composer’s best work and complements the neon-drenched visuals superbly.

It’s hard to pick a favourite amongst an almost flawless score but two tracks do stand-out – the “Neon Demon” opening credits set the tone perfectly during the opening salvo while “Runway”, which appears about halfway through the film, is a beautiful piece as Jesse unleashes her inner “Demon” as she begins her take-over of the fashion world. Sumptuous, exhilarating and downright magnificent, it’s easy the best original score of the year, and one of Martinez’s most wonderful creations. [SJD]

James Thompson presents the Isaac Award for Best Original Song to…

“I Am Moana (Song of the Ancestors)” – Moana

Source: Disney UK

It’s been a great year for songs and indeed soundtracks from movies, with the likes of La La Land, Sing Street and Moana all gaining critical acclaim for their new and original works of artistry, captivating audiences along the way. While one of Moana‘s admittedly strongest songs has been shortlisted for Best Original Song in that ‘other’ awards showcase later this month, it pays to take note of another of Disney’s wondrous additions to the movie in the form of “I Am Moana (Song Of The Ancestors)”, performed by Rachel House and Auli’i Cravalho.

In the latest Disney classic, the song represents one of the more heartfelt scenes in which we witness Moana and her grandmother Gramma Tala share a moment in which it finally becomes apparent that the young daughter of Chief Tui must go beyond what she knows and into the deep of the ocean waves. The lyrics are wonderfully poignant and not only add to the emotional core of the story itself but also speak volumes for the diverse nature of Disney’s latest property.

If you haven’t already reveled in this wondrous piece of musical and lyrical genius then take a moment to pass by “You’re Welcome” and “How Far I’ll Far Go” to find a real piece of buried treasure amongst the incredible songs within the Moana soundtrack. An enchanting pick for our Best Original Song for The Isaacs! [JT]

James Wheatley presents the Isaac Award for Best Foreign Language Film to…

Train to Busan (South Korea)

Source: Collider

‘Genre movies’ rarely get a look in during awards season, usually having to settle for nominations in the technical categories if anything at all. But this year one of the best films of all was a Korean zombie movie. The talk of Frightfest back in August, Sang-ho Yeon’s live action directorial debut Train to Busan is a relentless zombies-on-a-train movie – and an instant horror classic. Just when you’d be forgiven for getting tired of zombies in pop culture, this came along to breathe life into the undead. Full of more tension than the London Underground during rush hour, Busan uses its concept to raise questions of morality and class, whilst also tugging incredibly hard on the heart strings on a number of occasions.

Special mention must go to Soo-an Kim, delivering one of the most memorable performances of the year as the young daughter of protagonist Yoo Gong. Things go bad for them pretty quickly – as you’d expect – but just continue to get worse in this simple yet inventive thrill-ride. This is the movie World War Z wishes it was, and fully deserving of at least a Best Foreign Language Film nomination. Whilst it is frustrating that English-speaking audiences didn’t see it anyway, it’s a credit to how well the film has been received that it’s already been snapped up for a Western remake. The bar has been set very high indeed. [JW]

James Thompson – Managing Editor

Source: WildBunch

Best Picture: The Neon Demon

Best Director: Jeremy Saulnier – Green Room

Best Leading Actor: Neel Sethi – The Jungle Book

Best Leading Actress: Elle Fanning – The Neon Demon

Best Supporting Actor: Patrick Stewart – Green Room

Best Supporting Actress: Gal Gadot – Batman v. Superman: Dawn of Justice

Best Cinematography: The Neon Demon – Natasha Braier

Best Original Score: The Neon Demon – Cliff Martinez

Best Original Song: “I Am Moana (Song of the Ancestors)” – Moana

Best Foreign Language Film: Train to Busan (South Korea)

Chris Haydon – Sub-Editor

Source: Vogue

Best Picture: Jackie 

Best Director: Pablo Larraín – Jackie 

Best Leading Actor: Mark Wahlberg – Deepwater Horizon

Best Leading Actress: Elle Fanning – The Neon Demon

Best Supporting Actor: Aaron Taylor-Johnson – Nocturnal Animals 

Best Supporting Actress: Dakota Fanning – American Pastoral

Best Original Screenplay: Toni Erdmann – Maren Ade

Best Adapted Screenplay: Nocturnal Animals – Tom Ford

Best Cinematography: The Neon Demon – Natasha Braier

Best Animated Feature: Ethel and Ernest 

Best Original Score: The Neon Demon – Cliff Martinez  

Best Original Song: “Finest Girl (Bin Laden Song)” – Popstar: Never Stop Never Stopping

Best Foreign Language Film: Things To Come (France)

Darryl Griffiths – Social Media Manager

Source: JoBlo

Best Picture: A Monster Calls

Best Director: Nicolas Winding Refn – The Neon Demon

Best Leading Actor: Russell Tovey – The Pass

Best Leading Actress: Teyonah Parris – Chi-Raq

Best Supporting Actor: John Goodman – 10 Cloverfield Lane

Best Supporting Actress: Angourie Rice – The Nice Guys

Best Original Screenplay: The Witch – Robert Eggers

Best Adapted Screenplay: Silence – Jay Cocks & Martin Scorsese

Best Cinematography: Nocturnal Animals – Seamus McGarvey

Best Animated Feature: Finding Dory

Best Original Score: Swiss Army Man – Andy Hull & Robert McDowell

Best Original Song: “Drive It Like You Stole It” – Sing Street

Best Foreign Language Film: It’s Only the End of the World (France)

Scott Allden – Contributor 

Source: BFI

Best Picture: Paterson

Best Director: Nicolas Winding Refn – The Neon Demon

Best Leading Actor: Adam Driver – Paterson

Best Leading Actress: Amy Adams – Arrival

Best Supporting Actor: Michael Shannon – Loving

Best Supporting Actress: Angourie Rice – The Nice Guys

Best Original Screenplay: The Edge of Seventeen – Kelly Fremon Craig

Best Adapted Screenplay: Loving – Jeff Nichols

Best Cinematography: Hacksaw Ridge – Simon Duggan 

Best Animated Feature: Your Name

Best Original Score: Hail, Caesar! – Carter Burwell

Best Original Song: “You’re Welcome” – Moana

Best Foreign Language Film: Julieta (Spain)

Freda Cooper – Contributor

Source: Collider

Best Picture: Paterson

Best Director: Pablo Larraín – Jackie

Best Leading Actor: Adam Driver – Paterson

Best Leading Actress: Amy Adams – Arrival

Best Supporting Actor: C.J. Wilson – Manchester by the Sea

Best Supporting Actress: Hayley Squires – I, Daniel Blake

Best Original Screenplay: Hunt for the Wilderpeople – Taika Waititi

Best Adapted Screenplay: Loving – Jeff Nichols

Best Cinematography: Jackie – Stéphane Fontaine

Best Animated Feature: Finding Dory

Best Original Score: Paterson – Cater Logan & Jim Jarmusch

Best Original Song: “Drive It Like You Stole It” – Sing Street

Best Foreign Language Film: The Innocents (France)

Scott J. Davis – Contributor

Source: Collider

Best Picture: Paterson

Best Director: Nicolas Winding Refn – The Neon Demon

Best Leading Actor: Adam Driver – Paterson

Best Leading Actress: Amy Adams – Arrival

Best Supporting Actor: Ben Foster – Hell or High Water

Best Supporting Actress: Molly Shannon – Other People

Best Original Screenplay: Paterson – Jim Jarmusch

Best Adapted Screenplay: Indignation – James Schamus

Best Cinematography: The Neon Demon – Natasha Braier

Best Animated Feature: Finding Dory

Best Original Score: The Neon Demon – Cliff Martinez

Best Original Song: “You’re Welcome” – Moana

Best Foreign Language Film: Dheepan (France)

Sarah Buddery – Contributor 

Source: Collider

Best Picture: Nocturnal Animals 

Best Director: Tom Ford – Nocturnal Animals

Best Leading Actor: Daniel Radcliffe – Swiss Army Man

Best Leading Actress: Amy Adams – Arrival

Best Supporting Actor: Aaron-Taylor Johnson – Nocturnal Animals

Best Supporting Actress: Angourie Rice – The Nice Guys

Best Original Screenplay: Sing Street – John Carney

Best Adapted Screenplay: Nocturnal Animals – Tom Ford 

Best Cinematography: Jackie – Stéphane Fontaine

Best Animated Feature: Your Name

Best Original Score: Nocturnal Animals – Abel Korzeniowski

Best Original Song: “Drive It Like You Stole It” – Sing Street

Best Foreign Language Film: Your Name (Japan)

James Wheatley – Contributor

Source: Collider

Best Picture: Hunt for the Wilderpeople

Best Director: John Carney – Sing Street

Best Leading Actor: Daniel Radcliffe – Swiss Army Man

Best Leading Actress: Amy Adams – Arrival

Best Supporting Actor: Dwayne Johnson – Moana

Best Supporting Actress: Soo-an Kim – Train to Busan

Best Original Screenplay: Zootopia – Jared Bush & Phil Johnston

Best Cinematography: Nocturnal Animals – Seamus McGarvey

Best Animated Feature: Your Name

Best Original Score: Swiss Army Man – Andy Hull & Robert McDowell

Best Original Song: “Incredible Thoughts” – Popstar: Never Stop Never Stopping

Best Foreign Language Film: Train to Busan (South Korea)

Kevin Perreau – Contributor

Source: Empire

Best Picture: Kubo & The Two Strings

Best Director: Travis Knight – Kubo & The Two Strings

Best Leading Actor: Art Parkinson – Kubo & The Two Strings

Best Leading Actress: Charlize Theron – Kubo & The Two Strings

Best Supporting Actor: Channing Tatum – Hail, Caesar!

Best Supporting Actress: Angourie Rice – The Nice Guys

Best Original Screenplay: The Nice Guys – Shane Black & Anthony Bagarozzi

Best Adapted Screenplay: Deadpool – Rhett Reese & Paul Wernick

Best Cinematography: Rogue One: A Star Wars Story – Greig Fraser

Best Animated Feature: Teenage Mutant Ninja Turtles: Out of the Shadows

Best Original Score: Deadpool – Junkie XL