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Death Do Us Part

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Over Your Dead Body

by George Wolf

Why would Jason Segel plot to kill Samara Weaving?

Has he not seen Ready or Not? Borderline? Azreal? Ready or Not 2?

Segel is surely smart enough to play nice, but Dan – his character in Over Your Dead Body – is not. Dan and Lisa (Weaving) are off on a secluded weekend in a cabin by the lake. After 7 years together, they can barely say a cordial word, but this time Dan is laying the sweetness on pretty thick.

He’s cooked up a great dinner, along with a great alibi. Because after a nice boat ride on the lake, Lisa will sleep with the fishes.

Or not. Because Lisa has a plan of her own. And so do some convicts on the run (Timothy Olyphant, Keith Jardine) and the corrections officer who helped bust them out (Juliette Lewis).

Power shifts, violence and blood splatter ensue!

Writers Nick Kocher and Brian McElhaney, fresh off the hilariously unhinged Pizza Movie, adapt the 2021 Norwegian film The Trip with a healthy scoop of witty cynicism atop one good ol’ American mean streak.

Segel and Weaving make an excellent pair of frassasins (friendly assassins), he of the emasculated man child and she of the exasperated younger wife wondering what she saw in this guy. Neither is blameless in the demise of the marriage, and the two actors make the deadly bobbing and weaving (pun intended) a surprising, squirm-inducing delight.

Those squirms only increase once the three fugitives enter the fray, and comic director Jorma Taccone (Popstar, MacGruber) forays into body horror with a respectable aversion to sparring the rum or the wisecracks. What starts out as an in-the-moment sendup of how couples avoid therapy takes a nasty turn in the second half. The threat of violence inherent in the premise makes for a smoother transition, but make no mistake: Taccone leans into that R-rating with some serious bloodshed.

If you’re fine with that, Over Your Dead Body is an entertaining genre blast that’s pretty hard to ignore. And by pretty, I mean pretty funny.

And pretty gross.

Outtakes

Wrapper’s Plight

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Balls Up

by George Wolf

Is it funny to see Mark Wahlberg and Paul Walter Hauser bust out a lightly choreographed karaoke version of Goyte’s “Someone That I Used to Know?”

It is. But are there enough solid laughs in the rest of the film to make Balls Up a thumbs up?

Not quite.

Wahlberg is Brad from sales, and Hauser is Elijah from design, both reporting to boss lady Burgess (welcome delight Molly Shannon) at the Regal Blue condom company.

Elijah has designed a revolutionary condom that extends far enough to wrap the testicles, and Brad just landed the pitch to make “Balls Up” the official condom of the 2025 World Cup in Brazil!

“Raw Dog? Nah Dawg!”

The..ahem… head of the World Cup committee (Benjamin Bratt) is impressed enough to set the guys up with VIP treatment at the tournament. But things go so wrong so fast that Brad and Elijah become branded as “The Stupids,” two American villains on the run from a drug cartel kingpin (Sacha Baron Cohen) and any number of Brazilians who’d love to see them dead.

Speaking of drugs, this entire premise sounds like something two guys thought was freaking hilarious while they were high.

I don’t know if that’s true, but I do know writers Paul Wernick and Rhett Reese have scripted funnier movies. Like Zombieland, or Deadpool, or Deadpool & Wolverine. In comparison this one feels like something that could have been abandoned when they sobered up.

Hauser has the dim-witted schlub act down cold, but as talented as he is, he’s not enough of a comic presence to offset Wahlberg’s struggles with timing and delivery. The Other Guys worked because Wahlberg’s contrast with the effortlessly funny Will Ferrell was instantly engaging. This pairing is constantly in search of real chemistry, and director Peter Farrelly seems helpless to uncover it.

Farrelly has certainly had success with below-the-belt comedy (Kingpin, Dumb and Dumber, There’s Something About Mary), but Balls Up becomes just the latest streaming effort to string together inane antics and hope for the best.

This one just gets worse as it is goes, and after an hour and forty minutes of unfunny, you give up that hope.

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Content Re-creator

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Faces of Death

by George Wolf

It’s almost quaint now to remember the word-of-mouth infamy achieved by the original Faces of Death in 1978. By the mid-80s it was a cult favorite at the video store, with a lurid promise to unveil shocking video of real fatalities.

Though the non-stock footage was faked (yes, even the monkey scene), hyperbolic stories of the film’s effect continued to gain traction and the sequels were cranked out.

This new Faces is not one of those. Writer/director Daniel Goldhaber smartly brings that pre-viral legend into the internet age, tucking the bloody hunt for a serial killer inside the dulling nature of modern-day voyeuristic fetishes.

Barbie Ferreira stars as Margot, who works as a website content moderator for a company promising to protect “the young and innocent.” Though she occasionally flags a video for violations, most make it through – which is just how her manager prefers it. But when Margot sees some videos of murders that look alarmingly real, it sets her off on the trail of a killer (Dacre Montgomery) intent on recreating scenes from the original Faces of Death.

Though employees at Margot’s firm are strongly discouraged from researching the videos they moderate, she begins sleuthing. What Margot finds, of course, is an internet audience eager for the brutality, and online footprints that aren’t difficult for a tech savvy psycho to follow.

Stupid decisions (especially by young people) are a staple of horror films, and Margot makes a maddening amount. But Goldhaber (How to Blow Up a Pipeline) is able to mirror most of them alongside the questionable bargains we’ve made as a web-obsessed society.

“It’s an attention economy, and business is booming.”

Our killer (Montgomery gives him both Silence of the Lambs and Red Dragon vibes) knows his audience, and Goldhaber gives the funny games he plays with both his victims and Margot a nice sense of tension. Sure, you may want to slap some sense into most of these people, but then again, is your own browser history MENSA worthy?

The rough patches in the story go down easier thanks to the savvy, in-the-moment winks Goldhaber flashes while telling it.

Why has the explosion of technology that holds so much positive potential continued to reveal the worst parts of ourselves? If you give the people what they want, how culpable are the people that want it?

Michael Haneke may have asked the question more eloquently, but Goldhaber and Faces of Death have more trashy, finger-wagging fun.

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Blame Canada

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Hunting Matthew Nichols

by George Wolf

Is this a faux documentary? A true crime thriller? Found footage horror? It’s all of that, at least some of the time.

You know what, just don’t worry about it and enjoy the clever way Hunting Matthew Nichols tips its hat to a variety of genre influences.

Director and co-writer Markian Tarasiuk plays himself as a documentary filmmaker out to solve an over-two-decades-old missing persons case. Canadian teens Matthew and Jordan went missing on Halloween night of 2001, and now Matthew’s sister Tara (Miranda MacDougall) is teaming with Markian to get to the bottom of what really happened.

Early on, we come along on an engaging hunt for clues. A succession of solid supporting performances bring welcome authenticity to Tara’s fact-finding interviews, until a surprise discovery turns the film on its found footage ear.

The missing kids were big fans of the Blair Witch Project, and took a camcorder into Black Bear Forest to uncover the local legend of Roy McKenzie. This turns out to be a slyly organic way of acknowledging the big comparisons that will follow, and to setup the type of in-your-face finale that more than a few BWP naysayers may have preferred.

The ride is well-paced and impressively assembled, and the payoff is satisfying enough to make you forget about who’s manning the camera or why we’re watching reactions to a shocking videotape instead of the tape itself.

But this Hunt is a fun one, and it comes complete with a mid-credits stinger that flirts with the possibility of another chapter.

If so, count me in.

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Truth Bomb

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The Drama

by George Wolf

If The Drama is in your date night plans, better put the dinner after the movie.

Hoo-boy. You’re gonna need to make some time for conversation.

Writer/director Kristofer Borgli continues his social provocateur-ing with look inside a couple thrown waaay off course by a shocking confession. The aftermath – affecting not only the couple involved but other couples in their orbit – becomes a darkly funny and intentionally cringe-worthy dissection of intimacy.

Emma (Zendaya) and Charlie (Robert Pattinson) are knee deep in wedding plans. As Charlie works on this planned remarks, his remembrances give us an organic – if one sided – primer on the Emma/Charlie relationship.

But one night while sampling food and wine menu options with their fiends Mike (Mamoudou Athie) and Rachel (Alana Haim), everyone starts confessing about “the worst thing they’ve ever done.” It’s all embarrassing fun and games, until Emma takes a a turn.

Over a decade ago, Ruben Östlund’s Force Majeure explored how relationships are changed in an instant by one man’s panicked choice. Borgli picks similar scabs, but with a more serrated and much darker edge.

Pattinson is excellent as a man struggling with the notion that his fiancé’s past should not change how he sees her. Zendaya makes the complexities of Emma’s life after the confession seem desperately authentic, and her search for support from those she trusted most achingly real.

Haim gives Rachel some serious teeth, taking instant and very personal umbrage to Emma’s reveal, and Hailey Gates impresses in a smaller role as a co-worker of Charlie’s who gets a little too close to his breakdown.

Because the thought experiment here isn’t just about Emma and Charlie. Borgli, even more-so than he did with 2023’s Dream Scenario, invites you to imagine yourself in several roles (and, of course, to judge the choices of those around you). The script is crisp, the humor is coal black, and the pacing (aided by some nifty editing and visual cues) keeps you invested at every turn.

“You always turn my drama into comedy,” Charlie says early on.

The line ends up feeling like Borgli’s own confession. The Drama is a totally different rom-com animal, one that many may find just too confrontational. But there’s a layer of hope to be found here, too, and a kind of unflinching eye that’s hard not to respect.

Outtakes

Half Hallucinogens, Half Pepperoni

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Pizza Movie

by George Wolf

First off, pineapple is the all-time greatest pizza topping. And I am not on drugs.

I can’t say the same for Monte and Jack. They are most definitely on drugs, and a pizza is all that might save them from their worst nightmare coming to shove a chainsaw where it most definitely does not belong.

That’s just a tiny sample of the batshit craziness delivered by Hulu’s Pizza Movie, an outrageously R-rated gross out and stoned out comedy that rises above some dry stretches to land several set-pieces of outright hilarity.

Jack (Gaten Matarazzo from Stranger Things) and Monte (The Goldbergs‘ Sean Giambrone) are college nerds. Jack’s unfortunate mishap as the football team mascot made both of them targets of constant bullying, even from Lizzy (Becky‘s Lulu Wilson), an old friend who’s now trying to run with the cool kids.

After one of their regular dorm room beatdowns jars a tin of ten-year-old drugs loose from the ceiling, the boys partake. And the ride begins.

A YouTube video from the drug’s inventor (Sarah Sherman) tells the guys they’ve got several stages of trippiness coming, including Nothing but the Truth, Bad Words, The Old Switcheroo and more. And if they don’t want to experience that last stage with the chainsaw enema, they better wolf down some ‘za in a hurry.

Oh, and Lizzy thought the drugs were mints and took some, too.

Writers/directors Nick Kocher and Brian McElhaney (from the SNL writers room) craft their feature debut as if Edgar Wright took Scott Pilgrim and the Superbad guys to college for a drug-fueled class on practical blood splatter effects.

Leaning on a winning ensemble that perfectly sells the vibe, Kocher and McElhaney move through the six stages of balls tripping like levels in a video game, keeping the intensity up with a succession of quick cuts, camera swipes and rapid fire gags. From psychotic R.A.s out to banish all partiers to the wasteland of Gralk Hall, to tenacious Snackatron food drones to a college band performing only “clown-core vomit opera,” the barriers between Monte, Jack, and their Lord of the Pies delivery two floors down keep piling up.

And I haven’t even mentioned the “Makin’ It” dance sequence and the butterfly named Lysander Featherhemp that’s voiced by Daniel Radcliffe!

Yes, it’s nuts, and sometimes in a can’t-catch-your-breath funny kind of way. Not everything lands, of course, but Pizza Movie doesn’t slow down long enough for any cold spots to linger. Just let them pass, another piping hot slice of WTF will be in your face any second.

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Retail Equinox

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Forbidden Fruits

by George Wolf

Just a few minutes into Forbidden Fruits, it’s clear that Apple (Lili Reinhart) has created a living space that does not bow to the patriarchy – at the local mall or anywhere else.

Apple, Fig (Alexandra Shipp), and Cherry (Victoria Pedretti) are the Queens of the Highland Place mall in Dallas, and the awestruck whispers we hear as they walk in tell us much about the kind of power the “Fruits” enjoy.

Reporting to an unseen manager named Sharon (stay late for an important reveal), the ladies work the floor at the Free Eden boutique, fleecing customers into big dollar buys, worshipping Marilyn Monroe and adhering to a strict regimen that includes sex on a schedule and communicating with boys only through emojis.

Also…there are hexes and spells when needed. So, all seems good with this coven as a trio. Until Pumpkin (Lola Tung from “The Summer I Turned Pretty”) strolls in from that pretzel place in the food court.

Pumpkin is unintimidated by the Fruits, confidently telling Apple, “My job doesn’t define me, my hotness and personality do.”

That’s just one of many priceless lines, and writer/director Meredith Alloway’s adaptation of Lily Houghton’s stage play becomes a sharp, sly and sardonic treat, spilling the beans (and the blood!) about the chaos and contradictions of trying to stay true to yourself.

All four actresses are terrific, carving out distinct identities that keep various secrets on simmer. Is Cherry really that much of an empty-headed vessel? Does Fig have aspirations beyond Highland Place? And what’s the real truth about the death of Apple’s abusive Dad (“R.I. – but not P!”)

Tung makes it fun to guess Pumpkin’s true motives for joining the Fruits, and Alloway crafts an engaging ecosystem of complex girl power. The limited setting of the play never feels claustrophobic, and the mashup of storefronts, costuming and technology creates an anachronistic callback to the glory days of mall society.

Alloway does take her time getting to the bloodletting, but leans in pretty hard with some fun practical magic once it does hit. Remember those warnings about getting caught in escalators? Ouch!

But the real delight here is how the film utilizes a horror device derived from the fear of a women’s power to discuss how messy and imperfect the path toward self-actualization can be. There is strength in community, but danger when – as Cherry points out – you forget Shine Theory and “ruin my glow!”

These are definitely some hot topics for a day at the mall. But in the world of Forbidden Fruits, digging into them is even more fun than sorting through the blacklight posters at Spencer’s.

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It’s Time Go

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Project Hail Mary

by George Wolf

The arguments about Awards Season 2026 may still be raging on social media, but Project Hail Mary arrives to start the conversation about next year. It’s the kind of lavish, well-polished, big movie star project that could generate word-of-mouth excitement, bring crowds back to the theater, and leave audiences with an inspiring message of hope and humor that is sorely needed.

And that will be awesome, truly. So, I already feel like a cynical jerk for not thinking it’s a masterpiece.

Thanks a lot, Ryan Gosling.

Actually, it’s pretty damn hard not to love Gosling’s turn here as Dr. Ryland Grace, a molecular biologist who’s teaching middle school science thanks to some of his less-than-peer-approved theories.

But when he wakes from an induced coma on a ship in outer space, “Grace” is our last hope for saving Earth from the nasty space dust that is about three decades away from destroying the Sun.

How did he get here? And how can a man “who puts the ‘not’ in “astronaut'” hope to succeed all alone?

Directors Phil Lord and Christopher Miller give us those answers, adapting Andy Weir’s best-selling novel with another crowd-pleasing script from Drew Goddard – who also adapted Weir’s The Martian for the screen. And much like The Martian, we’re among the stars with a solitary man who must rely on science to find the solution to survival.

But Grace isn’t really alone, once he meets a crab-like alien (voiced by James Ortiz) he calls “Rocky” thanks to an appearance that resembles a strategic stacking of stones. Rocky’s planet is also facing extinction, and the two form a bond that quickly aligns the film as a family-friendly mashup of 2001 and E.T.

Gosling’s self-deprecating charm and sharp comic timing are instantly likable, and once Rocky learns some basics of English, the alien’s penchant for inverting certain words and gestures leads to warmly funny exchanges. Lord & Miller (The Lego Movie, 21 Jump Street, Cloudy with a Chance of Meatballs) bolster the rapport with wondrous IMAX sequences, but can’t completely overcome the feeling that this is all just a little too obvious and cute.

Flashbacks to a terrific Sandra Hüller as the impatiently blunt leader of the Hail Mary project give the film some much needed depth, and the mild twist in Act Three pulls the narrative out of the safe zone, albeit too briefly. The Martian suffered from the same calculated, broad brush feel at work here, and thankfully Lord & Miller don’t follow suit and resort to a succession of eye-rollingly precise needle drops.

The film’s title could also apply toward winning back those finicky theater-goers. And Project Hail Mary is perfectly suited to be a memorable cinematic experience with mass appeal. It looks great, there’s a charismatic leading man, his little alien buddy, and an easily digestible life lesson.

An enjoyable trip to the movies will be had. It just ain’t a trip to deep space.

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Now With Extra Whitening!

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Slanted

by George Wolf

Writer/director Amy Wang’s debut feature Slanted has so many plates spinning in the air, I expected most of them to eventually come crashing down. For just over ninety minutes, Wang juggles social satire, body horror, high school comedy and cultural drama with a fearless commitment to boundary pushing.

Actually, maybe more like boundary shoving.

Chinese-American teen Joan Huang (Shirley Chen) has a singular mission: to beat out her high school’s Queen Bee Olivia Hammond (Amelie Zilber) and be elected Prom Queen.

Just imagine her gigantic framed picture in the hallway next to all those other white, blonde Queens of the past!

Joan’s mother, Sofia (Vivian Wu) and best friend, Brindha (Maitreyi Ramakrishnan) aren’t thrilled when Joan bleaches her black hair, but that’s just the beginning. Lured into the office of the smiling Dr. Singer (R. Kieth Harris), Joan is hooked by his pitch of a perfect new life. She tricks her mother into signing a consent form and undergoes Dr. Singer’s experimental surgery.

And when Joan Huang wakes up from the operation, she’s Jo Hunt (McKenna Grace). No scars, no bandages, just all pretty, blonde and perfectly white.

Dr. Singer’s first recommendation: “Go see Michael Buble!”

Anyone who remembers Eddie Murphy’s classic “White Like Me” SNL bit from 1984 will recognize the world that suddenly opens up to Jo – and Wang skewers that world with biting humor and wry precision. But as much as Wang pushes her character envelopes, she gets balance from a more subtle hand that calls out the systems that breed and perpetuate this Lilly white playground. (Keep an eye on the local business names, as well as the photographs chosen for mantles, bedroom walls and school lockers.)

Could there be a price to pay for Jo abandoning her family, friend and heritage? Oh yes. And while I won’t be the first or last to mention the resulting mashup of Mean Girls and The Substance, give Wang credit for not giving a flying F.

There’s plenty of last year’s Grafted here, too, though Wang never dives that deeply into a horror show. What she does do is pull all of these influences through her own lens with unapologetic abandon, and a fittingly flawed final girl.

This is a wonderfully ambitious, high concept debut for Amy Wang. At turns both familiar and ferocious, it never lets you get too comfortable with its message. Funny, horrific, bittersweet, angry and insightful, Slanted feels like an experiment gone right.

Outtakes

Fearless Oscar Predictions 2026

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Who ya got: “Sinners” and its record-setting 16 nominations or “One Battle After Another” and 13 nods?

There are other deserving nominees, to be sure, but these two films have dominated the movie year 2025 and much of Awards Season 2026. There is no reason to think it won’t continue come Oscar night.

Which is better? Wow. What day is it? Let’s just say we have extra love for the split in the Best Screenplay category this year, where they both can collect the hardware.

And what a great year for Horror! Don’t forget del Toro’s visionary “Frankenstein” nabbed 9 nominations, Amy Madigan’s Aunt Gladys gets recognition for “Weapons” and “The Ugly Stepsister,” Emilie Blichfeldt’s beautifully brutal debut, is up for the Best Makeup and Hairstyling award. All well deserved.

So let’s dig in:

Best picture

  • “Bugonia”
  • “F1”
  • “Frankenstein”
  • “Hamnet”
  • “Marty Supreme”
  • “One Battle After Another”
  • “The Secret Agent”
  • “Sentimental Value”
  • “Sinners”
  • “Train Dreams”

Should win: “Sinners” or “One Battle After Another”

Will win: “Sinners”

Best Actress

  • Jessie Buckley, “Hamnet”
  • Rose Byrne, “If I Had Legs I’d Kick You”
  • Renate Reinsve, “Sentimental Value”
  • Emma Stone, “Bugonia”
  • Kate Hudson, “Song Sung Blue”

Should win/Will win: Buckley. Probably the surest bet this year.

Best Actor

  • Timothée Chalamet, “Marty Supreme”
  • Leonardo DiCaprio, “One Battle After Another”
  • Ethan Hawke, “Blue Moon”
  • Michael B. Jordan, “Sinners”
  • Wagner Moura, “The Secret Agent”

Should win/Will win: Jordan

Best Supporting Actress

  • Elle Fanning, “Sentimental Value”
  • Inga Ibsdotter LilIeaas, “Sentimental Value”
  • Amy Madigan, “Weapons”
  • Wunmi Mosaku, “Sinners”
  • Teyana Taylor, “One Battle After Another”

Should win: Mosaku

Will win: Madigan

Best Supporting Actor

  • Jacob Elordi, “Frankenstein”
  • Sean Penn, “One Battle After Another”
  • Stellan Skarsgård, “Sentimental Value”
  • Benicio del Toro, “One Battle After Another”
  • Delroy Lindo, “Sinners”

Should win: Lindo – how does he not have an Oscar by now?

Will win: Penn*

*Hope disagrees. Her last shred of faith in humanity says Lindo will pull it out.

Director

  • Paul Thomas Anderson, “One Battle After Another”
  • Ryan Coogler, “Sinners”
  • Chloé Zhao, “Hamnet”
  • Josh Safdie, “Marty Supreme”
  • Joachim Trier, “Sentimental Value”

Should win: PTA or Coogler

Will win: PTA

Original Song

  • “Golden” from “Kpop Demon Hunters”
  • “Train Dreams” from “Train Dreams”
  • “Dear Me” from “Diane Warren: Relentless”
  • “I Lied to You” from “Sinners”
  • “Sweet Dreams Of Joy” from “Viva Verdi!”

Should win/Will win: “I Lied to You”

Original Score

  • “Bugonia,” Jerskin Fendrix
  • “Frankenstein,” Alexandre Desplate
  • “Hamnet,” Max Richter
  • “One Battle After Another,” Jonny Greenwood
  • “Sinners,” Ludwig Göransson

Should win/Will win: Göransson – the integration of music in Sinners was masterful.

Animated Film

  • “Arco”
  • “Elio”
  • “KPop Demon Hunters”
  • “Little Amélie or the Character of Rain”
  • “Zootopia 2”

Should win/Will win: “Little Amélie or the Character of Rain”

International Film

  • “The Secret Agent,” Brazil
  • “It Was Just an Accident,” France
  • “Sentimental Value,” Norway
  • “Sirât,” Spain
  • “The Voice of Hind Rajab,” Tunisia

Should win/Will win: “Sentimental Value” in a category so stacked that neither “No Other Choice” or “The President’s Cake” could crack it.

Documentary Feature

  • “The Perfect Neighbor”
  • “The Alabama Solution”
  • “Come See Me in the Good Light”
  • “Cutting Through Rocks”
  • “Mr. Nobody Against Putin”

Should win/Will win: “The Perfect Neighbor“

Casting

  • “Hamnet”
  • “Marty Supreme”
  • “One Battle After Another”
  • “The Secret Agent”
  • “Sinners”

Should win: “Sinners” or “OBAA”

Will win: “OBAA”

Best Sound

  • “F1”
  • “Frankenstein”
  • “One Battle after Another”
  • “Sinners”
  • “Sirāt”

Should win: “Sirāt”

Will win: “F1”

Cinematography

  • “Frankenstein”
  • “Marty Supreme”
  • “One Battle After Another”
  • “Sinners”
  • “Train Dreams”

Should win/Will win: “Train Dreams” in another category brimming with excellence.

Original Screenplay

  • “Blue Moon,” Robert Kaplow
  • “It Was Just an Accident,” Jafar Panahi, with script collaborators Nader Saïvar, Shadmehr Rastin, Mehdi Mahmoudian
  • “Marty Supreme,” Ronald Bronstein and Josh Safdie
  • “Sentimental Value,” Eskil Vogt and Joachim Trier
  • “Sinners,” Ryan Coogler

Should win/Will win: Coogler

Adapted Screenplay

  • “Bugonia”; Will Tracy
  • “Frankenstein,” Guillermo del Toro
  • “Hamnet,” Chloé Zhao and Maggie O’Farrell
  • “One Battle After Another,” Paul Thomas Anderson
  • “Train Dreams,” Clint Bailey and Greg Kwedar

Should win/Will win: PTA

Live Action Short Film

  • “Butcher’s Stain”
  • “A Friend of Dorothy”
  • “Jane Austen’s Period Drama”
  • “The Singers”
  • “Two People Exchanging Saliva”

Should win/Will win: “Two People Exchanging Saliva”

Animated Short Film

  • “Butterfly”
  • “Forevergreen”
  • “The Girl Who Cried Pearls”
  • “Retirement Plan”
  • “The Three Sisters”

Should win: “The Girl Who Cried Pearls”

Will win: “Butterfly”

Visual Effects

  • “Avatar: Fire and Ash”
  • “F1″
  • “Jurassic World Rebirth”
  • “The Lost Bus”
  • “Sinners”

Should win/Will win: “Avatar: Fire and Ash”

Production Design

  • “Frankenstein”
  • “Hamnet”
  • “Marty Supreme”
  • “One Battle After Another”
  • “Sinners”

Should win/Will win: “Frankenstein”

Film Editing

  • “F1”
  • “Marty Supreme”
  • “One Battle After Another”
  • “Sentimental Value”
  • “Sinners”

Should win/Will win: “F1”

Makeup and Hairstyling

  • “Frankenstein”
  • “Kokuho”
  • “Sinners”
  • “The Smashing Machine”
  • “The Ugly Stepsister”

Should win/Will win: “Frankenstein”

Costume Design

  • “Avatar: Fire and Ash”
  • “Frankenstein”
  • “Hamnet”
  • “Marty Supreme”
  • “Sinners”

Should win/Will win: “Sinners”

The 98th Academy Awards will take place March 15th, 2026.