Smash Cut

Tag: Colin Farrell

  • 10 Great Slow Burn Horror Movies (and where to stream them)

    10 Great Slow Burn Horror Movies (and where to stream them)

    Slow burn horror movies done right can be some of the scariest movies in the genre. Here are some of our favorites!

    Horror movies today rely on unsuspecting *JUMP SCARES* to entertain audiences. But we all know—at least you should—that a good horror movie is built on suspense and tension. That’s why some of the best horror movies are slow burn. These movies don’t tell you everything. Instead, they’re puzzles that you have to solve. And sometimes the terror is in what you can’t figure out. 

    From folk horror to ghost stories to slashers, here are some of my favorite slow burn horror movies!

    The Invitation (2016)

    What it’s about: Will (Logan Marshall-Greene) and his new girlfriend Kira (Emayatzy Corinealdi) are invited to his ex-wife (Tammy Blanchard) and her new husband’s (The Haunting at Hill House’s Michiel Huisman) house for a dinner with old friends. However, a reunion isn’t the only thing planned for the night.

    Why it’s great: Of the movies on this list, Karyn Kusama’s The Invitation is arguably the most underrated. It is the definition of a slow burn. Really nothing happens in the plot until the last 25 minutes. But by then, you’ve run through all the possibilities for what’s actually going on in your head and you’re prepared to find out exactly what’s happening.

    The amount of tension—both horror and emotional—that the movie builds before its conclusion is incredible. And any payoff would work. Still, it feels like the movie still picks the best possible ending—and the final shot is stunning.

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    Funny Games (1997)

    What it’s about: Georg (Ulrich Mühe), his wife Anna (Susanne Lothar), their son Georgie (Stefan Clapczynski), and their dog Rolfi arrive at their lakeside vacation home for a week of relaxation. However, when Paul (Arno Frisch) and Peter (Frank Giering) arrive, their weekend becomes anything but.

    Why it’s great: Funny Games might be an uncomfortable experience, but it’s impossible to turn away from the screen once it gets going. The movie’s slow-burn pace never feels sluggish as Paul and Peter’s games become more sadistic and the family’s attempts at survival more fleeting.

    It’s a lean and mean horror-thriller that clearly has more on its mind, but it’s never overindulgent. There’s also a shot-for-shot English remake directed by Haneke himself, which is just as good as the original. 109 mins.

    The Lighthouse (2019)

    Here’s what it’s about: In the late 19th century, a lighthouse keeper (Willem Dafoe) and his assistant (Robert Pattinson) slowly descend into suspicion and madness as they become isolated on a tiny New England island by a storm.

    Why you should watch it: Just like his breakthrough first feature The Witch, The Lighthouse is an immersive experience. Shot with stark black-and-white cinematography and presented in a glorious 1.19:1 aspect ratio, Robert Eggers throws you headfirst into the deep end of the late 19th century with every period detail intact — it’s almost unbelievable that the lighthouse was built for the film.

    The layered sound and striking visuals make it feel like the movie is wrapping around you as the pair fall further into insanity. The story, compelling from beginning to end and aided by a career-best performance by Dafoe, challenges your perception of what is real before leaving you either perplexed or jaw-dropped. Just let it take you.

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    It Follows (2015)

    it follows

    What it’s about: Jay (Maika Monroe) is a normal teenage girl who spends time at the pool and goes on dates. But after sleeping with a guy, she is tracked down by a mysterious entity that takes the form of anyone—a stranger or someone she knows—until “it” finally gets her.

    Why it’s great: It Follows takes the classic slasher movie rule “never have sex” to the extreme. What’s really interesting about the movie is that it subverts a couple of different genres. It has the elements of a slasher movie and a ghost movie which makes the finished product something else entirely.

    However, instead of jump scare prone ghosts or agile serial killer, the eponymous “it” is slow-moving and creeping in its pursuit of the teenagers. And unlike the other movies on this list, It Follows isn’t about uncovering a mystery—it’s about surviving.

    There is also little jump scares, but the movie leverages creepy imagery to add to the tense atmosphere. Plus, Disasterpiece’s pulsing synth score makes every beat all the more intense.

    Hereditary (2018)

    Hereditary

    What it’s about: After the death of her mother, Annie (Toni Collette), her husband Steve (Gabriel Byrne), and their kids (Alex Wolff and Milly Shapiro) begin to uncover sinister secrets about their family.

    Why it’s great: Hereditary is without qualification the scariest movie I saw in theaters. It’s also a horror fan’s dream. It’s a puzzle that you have to solve and unlike a lot of slow burn horror movies, it gives you the clues, you just have to find them.

    Hereditary is also patient in its scares—in addition to its story. The horror set pieces are long drawn out and some you don’t even notice until a second look. That’s what makes this a masterpiece. It replaces jump scares with truly frightening imagery and an unsettling atmosphere.

    Everything from the score to the production design to the sound design drip with evil. And it also has a smoldering family drama underneath it all. Not to mention one of the great horror performances from Toni Collette. It’s also one of our favorite movies of 2018.

    Where to stream it: Hereditary is available to stream on Prime Video! It’s also available to rent or buy.

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    The House of the Devil (2009)

    the house of the devil

    What it’s about: It’s the 1980s, The Fixx is burning up the charts, there’s a full lunar eclipse, and Samantha (Jocelin Donahue) has a babysitting job at a mansion in the middle of nowhere. What can go wrong?

    Why it’s great: The House of the Devil is a pitch-perfect homage to the satanic panic films of the 70s and 80s—think Rosemary’s Baby and The Omen—complete with camera zooms and freeze frames. Another thing it nails from the era is the slow burn.

    You never truly know what’s going on in the movie until it lets you in on it. And I will warn you, this movie is the slowest of slow burns. It doesn’t give you much indication—or horror—for a good while. But the ending is worth the wait.

    Plus, there’s bad 80s pop rock, feathered hair, and Sony Walkman. It’s all you can ask for.

    Where to stream it: The House of the Devil is available to stream on Shudder! It’s also available to rent or buy on Amazon.

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    It Comes at Night (2017)

    The Cast of It Comes At Night

    What it’s about: After a mysterious apocalyptic illness wipes out the population, a family (Joel Edgerton, Carmen Ejogo, and Kelvin Harrison Jr.) must battle the horrors outside the house—and some inside.

    Why it’s great: It Comes at Night suffered from its marketing in its initial theatrical run. While it was being sold as an apocalypse horror, it was closer to a psychological thriller with truly unsettling moments.

    Trey Edward Shults—who also directed the phenomenal Krisha—balances unnerving imagery with a slow burn story that isn’t about what’s going on the outside, but what’s going on on the inside.

    The chilling final 20 minutes are the payoff of an emotional rollarcoaster where relationships are tested and trust is earned and lost.

    Where to stream it: It Comes at Night is available to stream on Prime Video. It’s also available to rent or buy.

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    The Killing of a Sacred Deer (2017)

    The Killing of a Sacred Deer

    What it’s about: The Murphy Family, cardiovascular surgeon Steven (Colin Farrell), his wife Anna (Nicole Kidman), and his two kids (Raffey Cassidy and Sunny Suljic), become the fascination of a mysterious teen Martin (Barry Keoghan) who seems to be up to no good.

    Why it’s great: Director Yorgos Lanthimos’ signature style—deadpan acting and generally nihilistic worldview—is sometimes hard to appreciate, but it applies so well to the psychological thriller The Killing of a Sacred Deer.

    There is a sense of impending doom throughout the entire film as Martin’s increasingly nefarious plan falls into place. What makes him such a compelling villain is that you never truly know what he is up to. Neither does the Murphy Family—until it’s too late.

    During the last act, Lanthimos’ style adds even more tense energy as a decision on the level of Sophie’s Choice is made. It’s darkly funny, suspenseful, and creepy. The perfect combination for a slow burn horror movie.

    Where to stream it: The Killing of a Sacred Deer is available to stream on Prime Video. It’s also available to rent or buy.

    The Ritual (2018)

    the ritual netflix

    What it’s about: After a tragic incident, four friends reunite for a trip into the mountains and forests of Sweden. However, little do they know they’re not alone.

    Why it’s great: A slow burn story is almost a requirement for a folk horror movie, and The Ritual is no exception. Though the story is one that we’ve seen before—it’s comparable to The Descent earlier on this list—The Ritual delves into incredibly interesting mythology.

    While the group of friends ventures deeper into the forest—The Blair Witch Project-style—increasingly distressing and creepy occurrences build suspense until the movie finally reveals exactly what’s going on.

    The Ritual is paced incredibly well and never lets any tension go. And while it might be the least original of the movies on this list, its execution makes for a perfect stormy movie night.

    Where to stream it: The Ritual is streaming on Netflix.

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    The Witch (2015)

    the witch slow-burn horror movies

    What it’s about: In 1630s New England a devout Christian family is exiled from their settlement to live in the wilderness. All is well until weird occurrences start to make the family members question if they can trust each other.

    Why it’s great: Described as a New England folktale, The Witch does a fantastic job of immersing you in the world—the old English, the perfect production design, stunning performances. It’s all ground setting for a chilling tale.

    However, the slow burn doesn’t come from whether or not there is a witch, that question is answered relatively quickly. Instead, the mystery is who you can trust.

    And the movie doesn’t give you a clear answer. But along the way, you encounter terrifying scenes from a creepy black goat to one of the most stunning exorcism scenes I’ve ever seen. Plus, there’s a fantastic performance by newly anointed scream queen Anya Taylor-Joy.

    Where to stream it: The Witch is available to stream on Netflix and Prime Video! It’s also available to rent or buy.

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    The Night House (2020)

    The Night House

    What does a house feel like when one of its inhabitants is gone? It feels empty. Incomplete. Cold. That’s the feeling that director David Bruckner’s new film The Night House, which premiered as part of the Midnight section of the 2020 Sundance Film Festival, gives off at the start as Beth (Rebecca Hall), a high school teacher, copes with the suicide of her husband Owen (Evan Jonigkeit). As she strolls through their lakeside home, built and designed by Owen, you can feel the vacant space. It probably doesn’t help that the home is filled with large windows opening into the darkness of the woods and lake. However, eventually, like Bruckner’s last film The Ritual, that feeling eventually gives way to a pervasive dread. 

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    More movies, less problems

    Hey! I’m Karl. You can find me on Twitter and Letterboxd. I’m also a Tomatometer-approved critic.

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  • ‘After Yang’ and sci-fi as therapy | review and analysis

    ‘After Yang’ and sci-fi as therapy | review and analysis

    After Yang follows a father’s attempts to save his daughter’s robot brother as the family deals with identity, parenthood, and love

    After Yang premiered at the 2022 Sundance Film Festival. A24 will release it in theaters in March.

    At its best, science fiction acts as a meditation on something we know through the lens of the unfamiliar. In After Yang, the second film by writer-director Kogonada, the unfamiliar in this case is artificial intelligence, in the form of possibly the closest we’ll ever get to creating a human from computers — a “techno-sapien” as the film puts it. As for what we know, it’s those many things we’re already intimate with: memories, identity, love; the very fabric of our existence. If those sound like lofty themes, they are. It’s an ambitious movie. But those subjects are tackled with the same quiet sensitivity that Kogonada used to direct his egregiously underseen debut feature Columbus.

    The opening shot of the movie is of a quintessential family photo; posing are Jake (Colin Farrell), Kyra (Jodie Turner-Smith), and their young adopted daughter Mika (Malea Emma Tjandrawidjaja). Behind the camera is Mika’s brother Yang (Justin H. Min). But he doesn’t join the family immediately — he holds the view of the family photo for a beat longer than most comfortably would. We’ll return to this scene later, and see it play out multiple times, a recurring motif that extends to other moments in the movie as well.

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    In one scene Yang says to Kyra, “there’s no something without nothing.” Then we rewind and we hear him say it again. “There’s no something without nothing.” This time, however, he says it with a slight inflection in his voice and the smallest smile at the end. Each scene we see is shown with this staccato editing and sudden cuts. We’ll hear one line two or three times but derive a slightly different meaning each time. Almost like a memory desperately trying to be remembered.

    After an incredible opening credits sequence, in which each family featured in the film competes in a massive online Dance Dance Revolution-esque competition, Yang malfunctions. Here would be a good time to mention that Yang is a robot that Jake and Kyra bought to help Mika explore her identity as an adopted Chinese child. Though you wouldn’t be able to tell from looking at him: he’s strikingly emotional and singular as a real human. His breakdown is sudden and has a massive impact on Mika who saw Yang as one of the few people she could confide in. In the process of desperately finding a way to fix him before he decomposes, Jake gains access to Yang’s memories.

    After Yang is told through conversations in Yang’s memories and asks a series of questions: How do we perceive our memories and what do we focus on? Why do we like certain things? Why are they important? What details are important? Why are we who we are? If those seem like concepts that are too large to be answered by a single movie, you’d be correct. But Kogonada isn’t interested in answering them — he wants the audience to do so. The movie merely serves as a companion and guide, much like Yang himself is to the family.

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    Through his memories, we gather bits and pieces of who he was in relation to these people. In one memory Mika says, “the kids at recess were asking about my real parents. I told them about mom and dad and they said, ‘no, your real parents.’” Instead of giving her platitudes, Yang asks her, “do you believe them?” Eventually, Mika finds her way to her own conclusion.

    The beauty of sci-fi is that you can mold it to whatever you need it to be for your story whether it’s a high-reaching epic like 2001: A Space Odyssey or something that feels closer to home, like Her, Arrival, and now, After Yang. Kogonada takes a human problem that will be with us for as long as we’re alive — one of identity, family, parenthood — and wraps it into a futurist story that allows him to explore it with subtlety. More than a film, it’s a meditation on life, and in that way, I’d go as far to say that After Yang is akin to therapy. It takes a problem, so constant and looming in the undercurrent of our lives that it feels impossible to solve, and breaks it down into questions that we can answer. One of those questions is what comes after? After life and death? After each chapter of life ends? What comes next?

    There’s no simple or clear answer to these questions, just as there isn’t a satisfying finality to the film. Like the family, we’re left with as many questions as we came in with, but After Yang, we’re better equipped to try and find these answers for ourselves.

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    More movies, less problems

    Hey! I’m Karl. You can find me on Twitter and Letterboxd. I’m also a Tomatometer-approved critic.

    💌 Sign up for our weekly email newsletter with movie recommendations available to stream.

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  • The Beguiled review — A darkly funny southern gothic tale

    The Beguiled review — A darkly funny southern gothic tale

    The 1971 southern gothic tale The Beguiled has been reimagined with a sharp, witty tone that delivers some darkly funny laughs.

    Some of the greatest facets of a southern gothic tale — equivocal gender roles, a decaying setting, social alienation — all appear in both adaptations of Thomas P. Cullinan’s novel A Painted Devil, renamed The Beguiled. However, unlike the clear male gaze of the original 1971 version, which was directed by Don Siegel and starred Clint Eastwood, Sofia Coppola’s The Beguiled is set firmly from the female point of view. But, it’s not just a single view. Instead, she looks at female desire from four different viewpoints. That change elevates this new version of The Beguiled to surprising new heights while also streamlining the narrative to be more deep and effective than before.

    In 1864 Virginia, a few students and teachers remain in the Farnsworth Seminary run by Martha Farnsworth (Nicole Kidman). From the school, you can see smoke and hear canon fire as a reminder that the Civil War still rages on.




    While searching for mushrooms in the woods in deep Virginia, Amy (a delightful Oona Laurence) stumbles upon a Union soldier Corporal John McBurney (Colin Farrell), who injured his leg. Amy helps him back to the school where he passes out. Martha decides to take him in and nurse him back to health before handing him over to Confederate troops. However, there’s a noticeable shift in the air when Corporal John McBurney arrives. Teacher Edwina Morrow (Kirsten Dunst), teenage student Alicia (Elle Fanning), Martha, and the other students begin fighting for McBurney’s attention often slipping into his room, which he is locked in, to even just steal a glance of him. However, they all have different motives.

    Coppola smartly strips the movie of any obvious subtext and instead allows us to derive meaning from each characters’ actions. It’s less about the possible threat of McBurney and more about each woman’s reaction to his presence. And all of their reactions can be summed up in desire. Martha sees John as a companion. Unlike her complicated backstory in the original adaptation, it’s simply hinted at that Martha lost her husband at some point during the war. She sees John as a way to fill that void. Edwina, on the other hand, wants John as an escape. It’s clear that she’s unhappy with the way her life has gone, but she never had the means to leave it. To her, John is her chance to be free. Alicia, the eldest of the girls at the school, lusts after John. Her repressed sexuality suddenly has an outlet when John appears. And lastly, Amy, who doesn’t quite fit in with the other girls, want John to be a friend or even brother.

    What is most surprising about The Beguiled, though, is that it is a delight to watch. Not that I didn’t think it was going to be enjoyable. But it’s surprisingly funny in its own dark way. In one scene, the girls, particularly dressed up for their first dinner with McBurney, slyly fight over the apple pie that McBurney just complimented. The polite, but pointed, banter is a hilarious reminder that none of these women have felt the attention of a man in quite some time.

    However, there is a noticeable hole in terms of race. There has been a lengthy discussion about a black female slave character being cut from film — she appeared in both the book and the 1971 version. For a movie so closely tied to the Civil War, it was disappointing to not have that commentary. Especially considering this is a movie about desires. A woman in that position would have a very interesting perspective on the situation. It is addressed with a throwaway line early in the movie. Still, for such a lean narrative, one would wonder why they couldn’t fit in such an important conversation.




    The Beguiled is a practice minimalistic storytelling. We rarely leave the overgrown grounds of the school — the growing weeds are a small reminder of the absence of slaves — the characters don’t say more than is needed, and the plot doesn’t stray far from the main thread. However, it is still a charming and engrossing, albeit quiet, movie. Though she certainly has Farrell, who delivers a constantly shifting performance that keeps you guessing, and Kidman, who is powerful in her otherwise reserved role, to thank for that. The Beguiled isn’t your typical summer thriller. However, one of the best things on a hot summer day is a dose of melodrama. And that, like revenge, is served up ice cold.

    ★★★½ out of 5



    Watch The Beguiled on Amazon!

  • Golden Globe Predictions 2017 – Film

    Golden Globe Predictions 2017 – Film

    The Golden Globes are the first major stop on the way to the Oscars. While the winner here aren’t exactly predictive, many consider speeches their Oscar auditions. Here are our predictions for the 2017 Golden Globes!

    Check out our 2017 Oscar Predictions!

    Best Motion Picture, Drama

    Nominees:
    Hacksaw Ridge
    Hell or High Water
    Lion
    Manchester by the Sea
    Moonlight

    Will Win: Moonlight
    Could Win: Manchester by the Sea
    Should Win: Moonlight
    Dark Horse (possible upset winner): Hacksaw Ridge

    The overall consensus among pundits is that Manchester by the Sea will win this by a hair. However, Moonlight has been on a run this season. Manchester by the Sea just doesn’t have the same buzz that Moonlight has. So, I’m going to give it the edge. However, I wouldn’t be surprised to see Manchester take it. But watch out for Hacksaw Ridge. It has its fans. Plus, anything is possible with Mel Gibson scoring a surprise director nomination.

    Best Motion Picture, Musical or Comedy

    Nominees:
    20th Century Women
    Deadpool
    Florence Foster Jenkins
    La La Land
    Sing Street


    Will Win: La La Land Could Win: N/A Should Win: La La Land Dark Horse: Deadpool The Oscar frontrunner La La Land should easily win this category. The Globes award buzz and whenever they actually have a musical in this category, they pounce (Les Miserables, Sweeny Todd, Dreamgirls.) However – and call me crazy – I think Deadpool has a legitimate run at this category. While it certainly has its detractors, its fans are rabid. If somehow there's a crazy upset, that's the film that would pull it off. la la land golden globes

    Actor in a Motion Picture, Drama

    Nominees: Casey Affleck, Manchester by the Sea Joel Edgerton, Loving Andrew Garfield, Hacksaw Ridge Viggo Mortensen, Captain Fantastic Denzel Washington, Fences Will Win: Casey Affleck, Manchester by the Sea Could Win: Denzel Washington, Fences Should Win: Joel Edgerton, Loving Dark Horse: Andrew Garfield, Hacksaw Ridge I think the is a closer race than people think. The Oscar frontrunner Casey Affleck is the obvious choice. However, the Golden Globes love Denzel Washington. He even received the Cecil B. DeMille award last year. He could easily snatch this from under Affleck. With two movies out, Andrew Garfield can also make a late surge.

    Actress in a Motion Picture, Drama

    Nominees: Amy Adams, Arrival Jessica Chastain, Miss Sloane Isabelle Huppert, Elle Ruth Negga, Loving Natalie Portman, Jackie Will Win: Natalie Portman, Jackie Could Win: Isabelle Huppert, Elle Should Win: Ruth Negga, Loving Dark Horse: Amy Adams, Arrival I'm so torn between in this category. Natalie Portman is an Oscar frontrunner, which usually automatically gives you the edge. However, Isabelle Huppert also made a run through the critic's awards. In addition, she is a foreign actress (remember the HFPA is made up of foreign journalists) and had two high-profile movies this year. I'm going to give it to Portman right now, but I can easily see Huppert winning. Watch out for Golden Globe darling Amy Adams to upset here as well.

    Actor in a Motion Picture, Musical or Comedy

    Nominees: Colin Farrell, The Lobster Ryan Gosling, La La Land Hugh Grant, Florence Foster Jenkins Jonah Hill, War Dogs Ryan Reynolds, Deadpool Will Win: Ryan Reynolds, Deadpool Could Win: Ryan Gosling, La La Land Should Win: Ryan Gosling, La La Land Dark Horse: Hugh Grant, Florence Foster Jenkins Ryan vs. Ryan. This is a closer race than I think people make it out to be. While Ryan Gosling is the most likely of the bunch to reap an Oscar nomination, it isn't a straight comedic performance. Plus, he's not a frontrunner to win the Oscar, which is usually the way the Globes go. That's why I think Ryan Reynolds has a clear shot at the win. His performance is broad comedy. So, for drama sake, I'm gonna say Reynolds takes it by a hair. But my advice is that if you hear the name Ryan being called, wait for the presenter to finish before standing up.

    Actress in a Motion Picture, Musical or Comedy

    Nominees: Annette Bening, 20th Century Women Lily Collins, Rules Don't Apply Hailee Steinfeld, The Edge of Seventeen Emma Stone, La La Land Meryl Streep, Florence Foster Jenkins

    Will Win: Emma Stone, La La Land Could Win: Meryl Streep, Florence Foster Jenkins Should Win: Emma Stone, La La Land Dark Horse: Annette Bening, 20th Century Women Without her biggest Oscar rival Natalie Portman in the way, Emma Stone has a clear run at this category. In addition to being in the most likely winner for Best Motion Picture, she has yet to win, which the Globes love. But favorite Meryl Streep, who has 7 Globes and is the Cecille B. DeMille winner this year has a shot. However, most likely the Globes would want to spread the love. fences golden globes

    Actor in a Supporting Role

    Nominees: Mahershala Ali, Moonlight Jeff Bridges, Hell or High Water Simon Helberg, Florence Foster Jenkins Dev Patel, Lion Aaron Taylor-Johnson, Nocturnal Animals Will Win: Mahershala Ali, Moonlight Could Win: Dev Patel, Lion Should Win: Mahershala Ali, Moonlight Dark Horse: Jeff Bridges, Hell or High Water The Golden Globes are often where the contender with the momentum from the critic's awards can slip up. Think Lupita N'yongo a few years ago. However, I think Mahershala Ali should be safe because a consistent number two competitor hasn't come up. It could possibly be Jeff Bridges, but I actually think Dev Patel has more appeal for this group. They love awarding young actor who have earned their due. Plus, with foreign appeal and the Weinstein company behind him, he has a shot.

    Actress in a Supporting Role

    Nominees: Viola Davis, Fences Naomie Harris, Moonlight Nicole Kidman, Lion Octavia Spencer, Hidden Figures Michelle Williams, Manchester by the Sea Will Win: Viola Davis, Fences Could Win: N/A Should Win: Naomie Harris, Moonlight Dark Horse: Nicole Kidman, Lion Viola Davis would have had to do something pretty terrible to the HFPA to lose this category. Even then, she'd probably still win. There is one scenerio I can see Nicole Kidman winning in, which would be the Weinstein Company going on a run with Lion and shockingly upset Davis.

    Best Director

    Nominees: Mel Gibson, Hacksaw Ridge Damien Chazelle, La La Land Kenneth Lonergan, Manchester by the Sea Barry Jenkins, Moonlight Tom Ford, Nocturnal Animals Will Win: Barry Jenkins, Moonlight Could Win: Damien Chazelle, La La Land Should Win: Damien Chazelle, La La Land or Barry Jenkins, Moonlight Dark Horse: Mel Gibson, Hacksaw Ridge oscars mahershala ali

    Best Screenplay

    Nominees: Damien Chazelle, La La Land Tom Ford, Nocturnal Animals Barry Jenkins, Moonlight Kenneth Lonergan, Manchester by the Sea Taylor Sheridan, Hell or High Water

    Will Win: Kenneth Lonergan, Manchester by the Sea Could Win: Barry Jenkins, Moonlight Should Win: Barry Jenkins, Moonlight Dark Horse: Taylor Sheridan, Hell or High Water

    Best Animated Feature

    Nominees: Kubo and the Two Strings Moana My Life as a Zucchini Sing Zootopia Will Win: Zootopia Could Win: Moana Should Win: Kubo and the Two Strings Dark Horse: My Life as a Zucchini