How and Where to Watch 2018’s Oscar-Nominated Movies
Nominations for the 90th annual Academy Awards were announced early Tuesday morning, anointing front..
Nominations for the 90th annual Academy Awards were announced early Tuesday morning, anointing front-runners like The Shape of Water,Dunkirk, and Three Billboards Outside Ebbing, Missouri. While there were, naturally, a few snubs and surprises to be had (justice for Michael Stuhlbarg, a celebration for Rachel Morrison!), the nominations went largely as predicted. And though many of the best-picture candidates are still lounging about in theaters nationwide, there are also plenty of nominated films that you can watch online in order to catch up before the March 4 broadcast. From the thrilling Get Out to the hilarious Big Sick, here are 11 (officially!) Oscar-nominated films that you can stream right now.
Get Out
Jordan Peele’s horror hit, which has sparked heated debates and given the culture phrases like “the Sunken Place,” was nominated for best picture, best actor, best director, and best original screenplay.
Available to stream on HBO Go.
Mudbound
Dee Rees’s sweltering drama earned nods for best cinematographer and best adapted screenplay, making it one of the first Netflix movies (that isn’t a documentary) to get recognized by the Academy. Rees also made history as the first black woman to land a nod in the best-adapted-screenplay category.
Available to stream on Netflix.
Dunkirk
Christopher Nolan’s World War II film kept up its awards streak, getting tapped for best picture and director, plus a slew of technical awards.
Available to rent on Amazon, YouTube, and Google Play, though Christopher Nolan will be eternally sad you didn’t see it in IMAX.
The Big Sick
Kumail Nanjiani and Emily V. Gordon’s love story, directed by Michael Showalter, picked up a nod for best original screenplay, which Nanjiani celebrated with a very cute tweet.
Available to rent on Amazon.
Blade Runner 2049
Denis Villeneuve’sBlade Runner follow-up was rewarded for its sumptuous beauty and technical prowess, earning nominations for its visual effects, production design, and cinematography. Perhaps this will be the year that its oft-nominated cinematographer, Roger Deakins, picks up his first Oscar statuette.
Available to rent on iTunes, Amazon, YouTube, and Google Play.
Strong Island
The searing and personal documentary about police brutality, directed by Yance Ford, picked up a best-doc nod.
Available to stream on Netflix.
Last Men in Aleppo
Firas Fayyad’s film, which takes a closer look at the Syrian rescue group White Helmets, was also nominated for best documentary.
Available to stream on Netflix.
Loving Vincent
No other film can boast that it’s an Oscar nominee and the world’s first fully painted feature film. Loving Vincent, directed by Dorota Kobiela and Hugh Welchman, can claim both now that it’s been nominated for best animated feature.
Available to rent on YouTube and Google Play.
The Boss Baby
Tom McGrath’s fever dream of a feature about a suave business baby voiced by Alec Baldwin landed a best-animated-feature nomination, putting some DreamWorks skin back in the Oscar game.
Available to rent on iTunes, Amazon, YouTube, and Google Play.
Baby Driver
Edgar Wright’s passion project about a getaway driver with tinnitus and a life-saving playlist made a show in the technical categories, picking up nods for best film editing, best sound mixing, and best sound editing.
Available to rent on iTunes, YouTube, and Google Play.
Beauty and the Beast
Disney’s billion-dollar live-action reboot of the princess classic was recognized by the Academy for best production design and costume design.
Available to rent on iTunes, Amazon, YouTube, and Google Play.
Get Vanity Fair’s HWD NewsletterSign up for essential industry and award news from Hollywood.Full ScreenPhotos:How Roger Deakins Earned 13 Oscar Nominations
The Shawshank Redemption (1994)
Deakins’s first nomination came nearly two decades into his career, and after he had begun the collaboration with the Coen Brothers that would define his work. He lost to John Toll for Legends of the Fall; Toll won again the following year for his work on Braveheart.Photo: From Photofest.
Fargo (1996)
Joel and Ethan Coen won their first Oscars for their screenplay for this crime thriller, and Frances McDormand won the best-actress statue. But despite capturing the unforgettable, wintry images that would later inspire an entire TV series of the same name, Deakins went home statueless; he, like nearly everyone else that night, lost to The English Patient, and specifically its cinematographer John Seale.Photo: From Gramercy Pictures/Photofest.
Kundun (1997)
The visual splendor of Martin Scorsese’s film about the Dalai Lama was a major part of the film’s appeal, but unfortunately, it was limited: Kundun made just $5.6 million at the box office. Deakins lost the Oscar to yet another Oscar juggernaut: Titanic, and its cinematographer, Russell Carpenter.Photo: From Buena Vista Pictures/Photofest.
O Brother, Where Art Thou? (2000)
Capturing the Jim Crow south with an autumnal and just slightly surreal glow, Deakins and the Coens reteamed for one of the year‘s surprise indie hits. The soundtrack would win album of the year at the Grammys, but the Oscars weren’t quite as generous; Deakins lost to Peter Pau of Crouching Tiger, Hidden Dragon.Photo: From Buena Vista Pictures/Everett Collection.
Prisoners (2013)
Deakins’s first collaboration with Blade Runner 2049 director Denis Villeneuve starts off with a geographical miracle (it is set in Pennsylvania in the winter, but was filmed in Atlanta in the spring) and then presents a series of evocative images that absorb the audience in the story’s psychological drama. That year’s cinematography Oscar winner, though, may have been working with actual magic: Emmanuel Lubezki won his first of three consecutive Oscars for the “how did they do that?“ wonder of Gravity.Photo: From Warner Bros/Everett Collection.
Unbroken (2014)
By the time of Unbroken, a nomination for Deakins was almost seen as a given for any film he works on, though the captivating imagery he brought to Angelina Jolie’s war epic stands with the best work in his career. The film was an Oscar underperformer, though, with just three nominations; Deakins lost to Lubezki again, this time for Birdman.Photo: From Universal/Everett Collection.
Sicario (2015)
Deakins’s reunion with Villeneuve ratcheted up the emotional and visual intensity from Prisoners, telling the story of an F.B.I. agent in way over her head investigating Mexican drug cartels. Critics proclaimed (again) that Deakins was at the top of his game; Deakins lost (again) to Lubezki, winning his third Oscar in a row for The Revenant.Photo: From Lions Gate/Everett Collection.PreviousNext
The Shawshank Redemption (1994)
Deakins’s first nomination came nearly two decades into his career, and after he had begun the collaboration with the Coen Brothers that would define his work. He lost to John Toll for Legends of the Fall; Toll won again the following year for his work on Braveheart.From Photofest.
Fargo (1996)
Joel and Ethan Coen won their first Oscars for their screenplay for this crime thriller, and Frances McDormand won the best-actress statue. But despite capturing the unforgettable, wintry images that would later inspire an entire TV series of the same name, Deakins went home statueless; he, like nearly everyone else that night, lost to The English Patient, and specifically its cinematographer John Seale.From Gramercy Pictures/Photofest.
Kundun (1997)
The visual splendor of Martin Scorsese’s film about the Dalai Lama was a major part of the film’s appeal, but unfortunately, it was limited: Kundun made just $5.6 million at the box office. Deakins lost the Oscar to yet another Oscar juggernaut: Titanic, and its cinematographer, Russell Carpenter.From Buena Vista Pictures/Photofest.
O Brother, Where Art Thou? (2000)
Capturing the Jim Crow south with an autumnal and just slightly surreal glow, Deakins and the Coens reteamed for one of the year‘s surprise indie hits. The soundtrack would win album of the year at the Grammys, but the Oscars weren’t quite as generous; Deakins lost to Peter Pau of Crouching Tiger, Hidden Dragon.From Buena Vista Pictures/Everett Collection.
The Man Who Wasn’t There (2001)
Deakins brought the stark black-and-white contrast of film noir style to a new century in one of the Coens’ darkest films, and one that divided audiences. Cinematography was the film’s sole Oscar nomination; the winner was Andrew Lesnie for The Lord of the Rings: The Fellowship of the Rings.From USA Films/Everett Collection.
The Assassination of Jesse James by the Coward Robert Ford (2007)
This is the year the legend of Roger Deakins, Underappreciated Genius truly begins to take shape. Andrew Dominik’s revisionist Western, made for a reported $30 million, earned a big-budget sheen thanks to Deakins‘s dazzling cinematography, capturing vivid landscapes and nighttime raids that became famous among film fans. But it wasn’t the only powerful examination of the West that year . . .From Warner Bros/Everett Collection.
No Country for Old Men (2007)
. . . since this was also the year that Deakins worked with the Coens again on the eventual best-picture winner, No Country for Old Men. Nominated twice, Deakins likely effectively split his vote, and saw There Will Be Blood’s Robert Elswit take home the best-cinematography statue.From Snap Stills/REX/Shutterstock.
The Reader (2009)
Deakins shared credit with Chris Menges on the film that would win Kate Winslet her first Oscar. (The reported reason for the split is that Deakins filmed earlier sections of the film without Winslet, and Menges took over for her scenes due to scheduling conflicts.) Both lost to Anthony Dod Mantle, cinematographer of that year’s best-picture winner, Slumdog Millionaire.From Weinstein Company/Everett Collection.
True Grit (2010)
Reunited with the Coen Brothers, Deakins presented a wholly different vision of the West than in his 2007 films, a vivid but beautiful place that matched the spirit of the film’s teenage heroine, played by Hailee Steinfeld. True Grit was a surprise box-office hit and a best-picture nominee, but it was hard to compete with the visual trickery of the best cinematography winner: Wally Pfister, for Inception.From Paramount/Everett Collection.
Skyfall (2012)
Deakins has done one James Bond film, and he made it count, working with director Sam Mendes to create some of the most dazzling action set pieces in the franchise’s history (the fight in the skyscraper! The mansion on fire!) as well as images of natural beauty, as seen above. The cinematography was a major component of what made the film the most successful Bond entry yet, but it wasn’t quite enough to take down the cinematography Oscar winner that year, Claudio Miranda for Life of Pi.From Columbia Pictures/Everett Collection.
Prisoners (2013)
Deakins’s first collaboration with Blade Runner 2049 director Denis Villeneuve starts off with a geographical miracle (it is set in Pennsylvania in the winter, but was filmed in Atlanta in the spring) and then presents a series of evocative images that absorb the audience in the story’s psychological drama. That year’s cinematography Oscar winner, though, may have been working with actual magic: Emmanuel Lubezki won his first of three consecutive Oscars for the “how did they do that?“ wonder of Gravity.From Warner Bros/Everett Collection.
Unbroken (2014)
By the time of Unbroken, a nomination for Deakins was almost seen as a given for any film he works on, though the captivating imagery he brought to Angelina Jolie’s war epic stands with the best work in his career. The film was an Oscar underperformer, though, with just three nominations; Deakins lost to Lubezki again, this time for Birdman.From Universal/Everett Collection.
Sicario (2015)
Deakins’s reunion with Villeneuve ratcheted up the emotional and visual intensity from Prisoners, telling the story of an F.B.I. agent in way over her head investigating Mexican drug cartels. Critics proclaimed (again) that Deakins was at the top of his game; Deakins lost (again) to Lubezki, winning his third Oscar in a row for The Revenant.From Lions Gate/Everett Collection.
Yohana DestaYohana Desta is a Hollywood writer for VanityFair.com.
