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Best Picture:

“Call Me by Your Name”
“Darkest Hour”
“Dunkirk”
“Get Out”
“Lady Bird”
“Phantom Thread”
“The Post”
“The Shape of Water”
“Three Billboards Outside Ebbing, Missouri”

Lead Actor:

Timothée Chalamet, “Call Me by Your Name”
Daniel Day-Lewis, “Phantom Thread”
Daniel Kaluuya, “Get Out”
Gary Oldman, “Darkest Hour”
Denzel Washington, “Roman J. Israel, Esq.”

Lead Actress:

Sally Hawkins, “The Shape of Water”
Frances McDormand, “Three Billboards Outside Ebbing, Missouri”
Margot Robbie, “I, Tonya”
Saoirse Ronan, “Lady Bird”
Meryl Streep, “The Post”

Supporting Actor:

Willem Dafoe, “The Florida Project”
Woody Harrelson, “Three Billboards Outside Ebbing, Missouri”
Richard Jenkins, “The Shape of Water”
Christopher Plummer, “All the Money in the World”
Sam Rockwell, “Three Billboards Outside Ebbing, Missouri”

Supporting Actress:

Mary J. Blige, “Mudbound”
Allison Janney, “I, Tonya”
Lesley Manville, “Phantom Thread”
Laurie Metcalf, “Lady Bird”
Octavia Spencer, “The Shape of Water”

Director:

“Dunkirk,” Christopher Nolan
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“Phantom Thread,” Paul Thomas Anderson
“The Shape of Water,” Guillermo del Toro

Animated Feature:

“The Boss Baby,” Tom McGrath, Ramsey Ann Naito
“The Breadwinner,” Nora Twomey, Anthony Leo
“Coco,” Lee Unkrich, Darla K. Anderson
“Ferdinand,” Carlos Saldanha
“Loving Vincent,” Dorota Kobiela, Hugh Welchman, Sean Bobbitt, Ivan Mactaggart, Hugh Welchman

Animated Short:

“Dear Basketball,” Glen Keane, Kobe Bryant
“Garden Party,” Victor Caire, Gabriel Grapperon
“Lou,” Dave Mullins, Dana Murray
“Negative Space,” Max Porter, Ru Kuwahata
“Revolting Rhymes,” Jakob Schuh, Jan Lachauer

Adapted Screenplay:

“Call Me by Your Name,” James Ivory
“The Disaster Artist,” Scott Neustadter & Michael H. Weber
“Logan,” Scott Frank & James Mangold and Michael Green
“Molly’s Game,” Aaron Sorkin
“Mudbound,” Virgil Williams and Dee Rees

Original Screenplay:

“The Big Sick,” Emily V. Gordon & Kumail Nanjiani
“Get Out,” Jordan Peele
“Lady Bird,” Greta Gerwig
“The Shape of Water,” Guillermo del Toro, Vanessa Taylor
“Three Billboards Outside Ebbing, Missouri,” Martin McDonagh

Cinematography:

“Blade Runner 2049,” Roger Deakins
“Darkest Hour,” Bruno Delbonnel
“Dunkirk,” Hoyte van Hoytema
“Mudbound,” Rachel Morrison
“The Shape of Water,” Dan Laustsen

Best Documentary Feature:

“Abacus: Small Enough to Jail,” Steve James, Mark Mitten, Julie Goldman
“Faces Places,” JR, Agnès Varda, Rosalie Varda
“Icarus,” Bryan Fogel, Dan Cogan
“Last Men in Aleppo,” Feras Fayyad, Kareem Abeed, Soren Steen Jepersen
“Strong Island,” Yance Ford, Joslyn Barnes

Best Documentary Short Subject:

“Edith+Eddie,” Laura Checkoway, Thomas Lee Wright
“Heaven is a Traffic Jam on the 405,” Frank Stiefel
“Heroin(e),” Elaine McMillion Sheldon, Kerrin Sheldon
“Knife Skills,” Thomas Lennon
“Traffic Stop,” Kate Davis, David Heilbroner

Best Live Action Short Film:

“DeKalb Elementary,” Reed Van Dyk
“The Eleven O’Clock,” Derin Seale, Josh Lawson
“My Nephew Emmett,” Kevin Wilson, Jr.
“The Silent Child,” Chris Overton, Rachel Shenton
“Watu Wote/All of Us,” Katja Benrath, Tobias Rosen

Best Foreign Language Film:

“A Fantastic Woman” (Chile)
“The Insult” (Lebanon)
“Loveless” (Russia)
“On Body and Soul (Hungary)
“The Square” (Sweden)

Film Editing:

“Baby Driver,” Jonathan Amos, Paul Machliss
“Dunkirk,” Lee Smith
“I, Tonya,” Tatiana S. Riegel
“The Shape of Water,” Sidney Wolinsky
“Three Billboards Outside Ebbing, Missouri,” Jon Gregory

Sound Editing:

“Baby Driver,” Julian Slater
“Blade Runner 2049,” Mark Mangini, Theo Green
“Dunkirk,” Alex Gibson, Richard King
“The Shape of Water,” Nathan Robitaille, Nelson Ferreira
“Star Wars: The Last Jedi,” Ren Klyce, Matthew Wood

Sound Mixing:

“Baby Driver,” Mary H. Ellis, Julian Slater, Tim Cavagin
“Blade Runner 2049,” Mac Ruth, Ron Bartlett, Doug Hephill
“Dunkirk,” Mark Weingarten, Gregg Landaker, Gary A. Rizzo
“The Shape of Water,” Glen Gauthier, Christian Cooke, Brad Zoern
“Star Wars: The Last Jedi,” Stuart Wilson, Ren Klyce, David Parker, Michael Semanick

Production Design:

“Beauty and the Beast,” Sarah Greenwood; Katie Spencer
“Blade Runner 2049,” Dennis Gassner, Alessandra Querzola
“Darkest Hour,” Sarah Greenwood, Katie Spencer
“Dunkirk,” Nathan Crowley, Gary Fettis
“The Shape of Water,” Paul D. Austerberry, Jeffrey A. Melvin, Shane Vieau

Original Score:

“Dunkirk,” Hans Zimmer
“Phantom Thread,” Jonny Greenwood
“The Shape of Water,” Alexandre Desplat
“Star Wars: The Last Jedi,” John Williams
“Three Billboards Outside Ebbing, Missouri,” Carter Burwell

Original Song:

“Mighty River” from “Mudbound,” Mary J. Blige
“Mystery of Love” from “Call Me by Your Name,” Sufjan Stevens
“Remember Me” from “Coco,” Kristen Anderson-Lopez, Robert Lopez
“Stand Up for Something” from “Marshall,” Diane Warren, Common
“This Is Me” from “The Greatest Showman,” Benj Pasek, Justin Paul

Makeup and Hair:

“Darkest Hour,” Kazuhiro Tsuji, David Malinowski, Lucy Sibbick
“Victoria and Abdul,” Daniel Phillips and Lou Sheppard
“Wonder,” Arjen Tuiten

Costume Design:

“Beauty and the Beast,” Jacqueline Durran
“Darkest Hour,” Jacqueline Durran
“Phantom Thread,” Mark Bridges
“The Shape of Water,” Luis Sequeira
“Victoria and Abdul,” Consolata Boyle

Visual Effects:

“Blade Runner 2049,” John Nelson, Paul Lambert, Richard R. Hoover, Gerd Nefzer
“Guardians of the Galaxy Vol. 2,” Christopher Townsend, Guy Williams, Jonathan Fawkner, Dan Sudick
“Kong: Skull Island,” Stephen Rosenbaum, Jeff White, Scott Benza, Mike Meinardus
“Star Wars: The Last Jedi,” Ben Morris, Mike Mulholland, Chris Corbould, Neal Scanlon
“War for the Planet of the Apes,” Joe Letteri, Dan Lemmon, Daniel Barrett, Joel Whist

I can't believe Boss Baby beat Captain Underpants and LEGO Batman at the Oscar nominations and Blade Runner 2049 got snuffed out of Best Picture. Also besides The Dark Knight, Logan is the first Superhero movie to get nominated for a major category.

Call Me By Your Name – The last in a film trilogy that shows a love story between two men in Italy.

Darkest Hour – Winston Churchill's crucial moments in dealing with Nazi Germany during his time as Prime Minister.

Dunkirk – A retelling of one of World War 2's biggest battles and how the Allied Forces helped a small coastal town evacuate.

Get Out – A thriller in which an interracial couple must deal with the black man's relatives opposing the relationship.

Lady Bird – A comedic coming of age story about a relationship between a growing woman and her mother.

Phantom Thread – A 1950s dressmaker's career takes a turn when he decides to start a relationship with a waitress.

The Post – The Washington Post fights through corruption in the 1970s in order to publish the Pentagon Papers.

The Shape Of Water – A mute woman falls in love with a strange sea creature.

Three Billboards Outside Of Ebbings, Missouri – Fed up with her daughter's murder being unsolved, a woman places three billboards questioning the sheriff's ethics.

The Disaster Artist really got snubbed.

Thoughts on the films and their respective categories:

I thought Get Out was a fantastic horror film and a great film on its own, but I can't help but feel like it's only being included because of its handling of racial themes. Not to say that they weren't handled brilliantly, which they were, but horror movies have a history of receiving little to no attention at the Academy Awards, regardless of how well-made they are. Anyways, for Jordan Peele's directorial debut, this was a helluva great place to make his mark.

Dunkirk is winning Best Sound Editing, no question. The film's very foundation is bound together by the sound design and how it flows from scene to scene, so it would be very strange if it didn't receive the award.

Regardless of what you think of The Last Jedi, there's no doubt that its visual effects were pretty fantastic. The film also has one of John William's best scores too, so I can see it winning in those categories.

Kong: Skull Island had some fantastic visual effects too, but I'm disappointed that it's not being nominated for best cinematography or editing. Movie had some great shots and editing moments.

The Disaster Artist for best adapted screenplay…? No. In my opinion, the film is a letdown from the original novel. It's definitely important to alter a story so it fits the narrative of a film better (Stanley Kubrick's The Shining, for example), which is what the movie does decently, but important aspects of the book are either altered, truncated, or fabricated for the sake of reaching the goal of a movie adaptation (there's little dedication towards showcasing how the cast of the movie feels about its development and Tommy's antics, the entire legacy of The Room is condensed into one screening, and the conflict between Tommy and Mark has points in it that weren't present in the original book, and it all feels forced). It's a fine movie with a great performance from James Franco, but the story could've been adapted better, which is why I don't think it deserves best adapted screenplay.

Kinda wish I saw more movies this year so I could give more thorough examinations, but oh well.

Can we stop for a moment and address the fact that Boss Baby was nominated for an Oscar in "animation feature"?

This thing.

Captain Underpants or LEGO Movie should have been nominated.

At least the Emoji Movie didn't get an Oscar.

I lost my interest in the animation part after Song of The Sea lost to Big Hero 6.
Don't get me wrong, BH6 was fun, but SoTS is much better.

It's no secret that Best Animation has essentially been a joke category for years since the Academy is in a perpetual, unmovable mind state that all animation is stupid kiddy stuff and not capable of being a """"higher form of film art"""" which is such unbelievable bullshit
(TV Tropes link warning)

>Shitty Beauty and the Beast remake gets nominations that will probably win knowing the Academy's boner for Disney
God is dead

Some thoughts:
• Not as many pretentious historical dramas this year which makes me very happy, I'm still not over Mad Max losing to fucking Spotlight fuck that boring-ass movie
• I'm both hoping and expecting Baby Driver to sweep all its nominations, that movie had some fantastic editing and sound design. No surprise since this is Edgar Wright we're talking about
• Coco is going to win Best Animated Feature and not Loving Vincent, because despite the Academy being a bunch of pretentious art circlejerkers and Loving Vincent is a fucking hand painted animated movie that took 6 years to make, I direct you back to aforementioned Disney Boner. I know Coco was a great film, but the sheer technical achievement of Loving Vincent is more impressive.
• Sally Hawkins is who I want the most to win Best Actress. She did a fantastic job, and there's a scene in particular where she's pleading with her neighbor to help her save her fish boyfriend all entirely in ASL and it is unbelievable
• Just Shape of Water in general I want to win as many awards as possible I loved that movie it was just so goooood

I feel it had to do with the sexual misconduct allegations against James Franco. IDK if they're true or not, but it would kind of leave a bad mark on the Academy's part. Either way, it's a shame because I liked the movie a lot.

As for my thoughts on the nominees (mainly the ones I've watched):
THE BOSS BABY?! I haven't watched that but I heard it's not as bad as the Internet's making it out to be, but it's probably the most bizarre nomination I've seen since…ever. Personally, I'd put LEGO Batman over Boss Baby. Though in the end, Coco's gonna win it since "animation's for kids, it's a Disney/Pixar film." I love Coco, it made me cry, but goddammit give the others a chance too!

Speaking of baby, HELL YES for Baby Driver's nominations. The way all the action and background noises sync up with the songs is just done so well. Had to listen to four songs used in the movie as I drove this morning (Bellbottoms, Neat Neat Neat, Hocus Pocus, and Brighton Rock).

Get Out getting those nominations is great, too. What surprised me were the nominations for Best Actor and Best Picture. Given the racial themes the movie has, I kind of think it's a good contender for Best Picture.

Another surprise was Logan getting a nomination for Best Adapted Screenplay. It's kinda rare to see superhero movies get nominated for the major categories, so seeing Logan here is so good!

People are kinda pissed that Wonder Woman didn't get any nominations. Look, I enjoyed Wonder Woman a lot, I think it's a good example of female representation and has a good message about war and humanity--but it's still kind of a generic superhero movie. If I were to nominate it, maybe costume design?

As for the Oscars presentation for this year, kinda glad Jimmy Kimmel's hosting again--I enjoyed his hosting of the show last year. I won't be surprised at all that they're gonna focus this a lot on women's rights, as well as #MeToo/#TimesUp. I'm sorry to say this, but whatever happened to having fun? We get it, you're all for diversity, people should be more aware of sexual misconduct, you don't like Trump as president--I get the fucking picture, just give it a break for once!

I, for one, am overjoyed for the inclusion of Logan. It was a brilliantly written and acted movie, and I thought that it would be looked over simply because of its genre.

Yeah, that get's nominated, not this

And yeah, Coco is gonna win…cause pixar

Your Name was in 2016, and it even qualified for the 2017 Oscars. Sadly, it didn't get nominated.
If we're talking an anime movie from 2017 that should be nominated, it would be A Silent Voice.

Let's be positive for once and sometimes forth on (since my post on last year was a failure).
I'm impressed of myself being the only one that I've watched at least one artsy limited-release animation features that are ended up nominated later i.e. Anomalisa back in 2015 and Loving Vincent back in last year. Can't realise their availability enough on these two films in 2016, The Red Turtle or My Life As A Zucchini, are why I criminally missed them out.

Well now I feel silly…

Let's talk about the Best Picture noms please.