After Portland slacker John Callahan [Joaquin Phoenix] nearly loses his life in a car accident, the last thing he intends to do is give up drinking. But when he reluctantly enters treatment – with encouragement from his girlfriend [Rooney Mara] and a charismatic sponsor [Jonah Hill] – Callahan discovers a gift for drawing edgy, irreverent newspaper cartoons that develop a national following and grant him a new lease on life. Based on a true story, this poignant, insightful and often funny drama about the healing power of art is adapted from Callahan’s autobiography and directed by Gus Van Sant. Jack Black, Carrie Brownstein, Beth Ditto and Kim Gordon also star.
Everyone deserves a great love story. But for seventeen-year old Simon Spier it’s a little more complicated: he’s yet to tell his family or friends he’s gay and he doesn’t actually know the identity of the anonymous classmate he’s fallen for online. Resolving both issues proves hilarious, terrifying and life-changing. Directed by Greg Berlanti, written by Isaac Aptaker and Elizabeth Berger, and based on Becky Albertalli’s acclaimed novel — LOVE, SIMON is a funny and heartfelt coming-of-age story about the thrilling ride of finding yourself and falling in love.
On the outskirts of Rio de Janeiro, Irene has only a few days to overcome her anxiety and regain her inner confidence before sending her eldest son out into the world.
A new comedy from Academy Award-nominated director Jason Reitman and Academy Award-winning screenwriter Diablo Cody. Marlo [Academy Award winner Charlize Theron], a mother of three including a newborn, is gifted a night nanny by her brother [Mark Duplass]. Hesitant to the extravagance at first, Marlo comes to form a unique bond with the thoughtful, surprising, and sometimes challenging young nanny named Tully [Mackenzie Davis].
After publishing a bestselling novel based on the death of one of his high school classmates, the controversial writer Sidney Hall [Logan Lerman] finds himself catapulted to unexpected fame and renown. His relationship with his girlfriend [Elle Fanning] begins to fall apart as the dark consequences of the book intrude on their life together, and he disappears without a trace. Nearly a decade later, an enigmatic detective searches for the missing author, whose books are connected to a string of mysterious arsons.
Dominika Egorova is many things. A devoted daughter determined to protect her mother at all costs. A prima ballerina whose ferocity has pushed her body and mind to the absolute limit. A master of seductive and manipulative combat.
When she suffers a career-ending injury, Dominika and her mother are facing a bleak and uncertain future. That is why she finds herself manipulated into becoming the newest recruit for Sparrow School, a secret intelligence service that trains exceptional young people like her to use their bodies and minds as weapons. After enduring the perverse and sadistic training process, she emerges as the most dangerous Sparrow the program has ever produced. Dominika must now reconcile the person she was with the power she now commands, with her own life and everyone she cares about at risk, including an American CIA agent who tries to convince her he is the only person she can trust.
Here is a full transcript of Ms. Oprah Winfrey’s speech:
Ah! Thank you. Thank you all. O.K., O.K. Thank you, Reese. In 1964, I was a little girl sitting on the linoleum floor of my mother’s house in Milwaukee, watching Anne Bancroft present the Oscar for best actor at the 36th Academy Awards. She opened the envelope and said five words that literally made history: “The winner is Sidney Poitier.” Up to the stage came the most elegant man I had ever seen. I remember his tie was white, and of course his skin was black. And I’d never seen a black man being celebrated like that. And I’ve tried many, many, many times to explain what a moment like that means to a little girl — a kid watching from the cheap seats, as my mom came through the door bone-tired from cleaning other people’s houses. But all I can do is quote and say that the explanation’s in Sidney’s performance in “Lilies of the Field”: “Amen, amen. Amen, amen.” In 1982, Sidney received the Cecil B. DeMille Award right here at the Golden Globes, and it is not lost on me that at this moment there are some little girls watching as I become the first black woman to be given this same award.
It is an honor, and it is a privilege to share the evening with all of them, and also with the incredible men and women who’ve inspired me, who’ve challenged me, who’ve sustained me and made my journey to this stage possible. Dennis Swanson, who took a chance on me for “A.M. Chicago”; Quincy Jones, who saw me on that show and said to Steven Spielberg, “Yes, she is Sophia in ‘The Color Purple’”; Gayle, who’s been the definition of what a friend is; and Stedman, who’s been my rock — just a few to name. I’d like to thank the Hollywood Foreign Press Association, because we all know that the press is under siege these days.
But we also know that it is the insatiable dedication to uncovering the absolute truth that keeps us from turning a blind eye to corruption and to injustice. To tyrants and victims and secrets and lies. I want to say that I value the press more than ever before, as we try to navigate these complicated times. Which brings me to this: What I know for sure is that speaking your truth is the most powerful tool we all have. And I’m especially proud and inspired by all the women who have felt strong enough and empowered enough to speak up and share their personal stories. Each of us in this room are celebrated because of the stories that we tell. And this year we became the story. But it’s not just a story affecting the entertainment industry. It’s one that transcends any culture, geography, race, religion, politics or workplace.
So I want tonight to express gratitude to all the women who have endured years of abuse and assault, because they — like my mother — had children to feed and bills to pay and dreams to pursue. They’re the women whose names we’ll never know. They are domestic workers and farmworkers; they are working in factories and they work in restaurants, and they’re in academia and engineering and medicine and science; they’re part of the world of tech and politics and business; they’re our athletes in the Olympics and they’re our soldiers in the military.
And they’re someone else: Recy Taylor, a name I know and I think you should know, too. In 1944, Recy Taylor was a young wife and a mother. She was just walking home from a church service she’d attended in Abbeville, Ala., when she was abducted by six armed white men, raped and left blindfolded by the side of the road, coming home from church. They threatened to kill her if she ever told anyone, but her story was reported to the N.A.A.C.P., where a young worker by the name of Rosa Parks became the lead investigator on her case and together they sought justice. But justice wasn’t an option in the era of Jim Crow. The men who tried to destroy her were never persecuted. Recy Taylor died 10 days ago, just shy of her 98th birthday. She lived, as we all have lived, too many years in a culture broken by brutally powerful men. And for too long, women have not been heard or believed if they dared to speak their truth to the power of those men. But their time is up. Their time is up. Their time is up.
And I just hope that Recy Taylor died knowing that her truth — like the truth of so many other women who were tormented in those years, and even now tormented — goes marching on. It was somewhere in Rosa Parks’s heart almost 11 years later, when she made the decision to stay seated on that bus in Montgomery. And it’s here with every woman who chooses to say, “Me too.” And every man — every man — who chooses to listen. In my career, what I’ve always tried my best to do, whether on television or through film, is to say something about how men and women really behave: to say how we experience shame, how we love and how we rage, how we fail, how we retreat, persevere, and how we overcome. And I’ve interviewed and portrayed people who’ve withstood some of the ugliest things life can throw at you, but the one quality all of them seem to share is an ability to maintain hope for a brighter morning — even during our darkest nights.
So I want all the girls watching here and now to know that a new day is on the horizon! And when that new day finally dawns, it will be because of a lot of magnificent women, many of whom are right here in this room tonight, and some pretty phenomenal men, fighting hard to make sure that they become the leaders who take us to the time when nobody ever has to say, ‘Me too’ again. Thank you.”
Nick [Adam Horovitz] has settled into a safe existence in a small pocket of Brooklyn, where he currently toils on an archival project for his father-in-law. Soon, 20-something Naomi [Emily Browning] arrives from Australia to assist Nick for the semester. She has no acquaintances in the city beyond a loose family connection to Buddy [Jason Schwartzman], a music producer who lives in the same neighborhood. For the few months she spends around Nick, Buddy, and their families, Naomi’s presence upsets the precarious balance holding these two households.
Reserve Result. 