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On Thursday, the Academy officially unveiled their list of nominees for the 98th Annual Academy Awards, presented by Danielle Brooks and Lewis Pullman. Like the previous year, the Oscars are set to be streamed live on both ABC and Hulu at 7pm EST on Sunday, March 15th, 2026. Whether you’re a casual viewer rooting for your favorite movie of 2025 or participating in the annual “Oscars death race”, we’ve compiled a list of all nominees in each category to help you keep score. Here are the nominees in their respective categories:

Best Picture

• Bugonia (Ed Guiney & Andrew Lowe, Yorgos Lanthimos, Emma Stone and Lars Knudsen)
• F1 (Chad Oman, Brad Pitt, Dede Gardner, Jeremy Kleiner, Joseph Kosinski and Jerry Bruckheimer)
• Frankenstein (Guillermo del Toro, J. Miles Dale and Scott Stuber)
• Hamnet (Liza Marshall, Pippa Harris, Nicolas Gonda, Steven Spielberg and Sam Mendes)
• Marty Supreme (Eli Bush, Ronald Bronstein, Josh Safdie, Anthony Katagas and Timothée Chalamet)
• One Battle After Another (Adam Somner, Sara Murphy and Paul Thomas Anderson)
• The Secret Agent (Emilie Lesclaux)
• Sentimental Value (Maria Ekerhovd and Andrea Berentsen Ottmar)
• Sinners (Zinzi Coogler, Sev Ohanian and Ryan Coogler)
• Train Dreams (Marissa McMahon, Teddy Schwarzman, Will Janowitz, Ashley Schlaifer and Michael Heimler)

Best Directing

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

Best Actor in a Leading Role

• Timothée Chalamet (as Marty Mauser in Marty Supreme)
• Leonardo DiCaprio (as “Ghetto” Pat Calhoun in One Battle After Another)
• Ethan Hawke (as Lorenz Hart in Blue Moon)
• Michael B. Jordan (as the Smokestack Twins in Sinners)
• Wagner Moura (as Armando Solimões in The Secret Agent)

Best Actress in a Leading Role

• Jessie Buckley (as Agnes Shakespeare in Hamnet)
• Rose Byrne (as Linda in If I Had Legs I’d Kick You)
• Kate Hudson (as Claire “Thunder” Sardina in Song Sung Blue)
• Renate Reinsve (as Nora Borg in Sentimental Value)
• Emma Stone (as Michelle Fuller in Bugonia)

Best Actor in a Supporting Role

• Benicio del Toro (as Sergio St. Carlos in One Battle After Another)
• Jacob Elordi (as the Creature in Frankenstein)
• Delroy Lindo (as Delta Slim in Sinners)
• Sean Penn (as Colonel Steven J. Lockjaw in One Battle After Another)
• Stellan Skarsgård (as Gustav Borg in Sentimental Value)

Best Actress in a Supporting Role

• Elle Fanning (as Rachel Kemp in Sentimental Value)
• Inga Ibsdotter Lilleaas (as Agnes Borg Petterson in Sentimental Value)
• Amy Madigan (as Gladys in Weapons)
• Wunmi Mosaku (as Annie in Sinners)
• Teyana Taylor (as Perfidia Beverly Hills in One Battle After Another)

Best Original Screenplay

• Robert Kaplow (Blue Moon)
• Jafar Panahi w/ Nader Saïvar, Shadmehr Rastin, & Mehdi Mahmoudian (It Was Just An Accident)
• Ronald Bronstein & Josh Safdie (Marty Supreme)
• Eskil Vogt & Joachi Trier (Sentimental Value)
• Ryan Coogler (Sinners)

Best Adapted Screenplay

• Will Tracy (Bugonia, original story by Jang Joon-hwan)
• Guillermo del Toro (Frankenstein, original story by Mary Shelley)
• Chloé Zhao & Maggie O’Farrell (Hamnet, original story by O’Farrell)
• Paul Thomas Anderson (One Battle After Another, original story by Thomas Pynchon)
• Clint Bentley & Greg Kwedar (Train Dreams, original story by Denis Johnson)

Best Animated Feature

• Arco (Ugo Bienvenu, Félix de Givry, Sophie Mas and Natalie Portman)
• Elio (Madeline Sharafian, Domee Shi, Adrian Molina and Mary Alice Drumm)
• KPop Demon Hunters (Maggie Kang, Chris Appelhans and Michelle L.M. Wong)
• Little Amélie or the Character of Rain (Maïlys Vallade, Liane-Cho Han, Nidia Santiago and Henri Magalon)
• Zootopia 2 (Jared Bush, Byron Howard and Yvett Merino)

Best International Feature Film

• The Secret Agent (Brazil)
• It Was Just An Accident (France)
• Sentimental Value (Norway)
• Sirāt (Spain)
• The Voice of Hind Rajab (Tunisia)

Best Documentary Feature Film

• The Alabama Solution (Andrew Jarecki and Charlotte Kaufman)
• Come See Me in the Good Light (Ryan White, Jessica Hargrave, Tig Notaro and Stef Willen)
• Cutting through Rocks (Sara Khaki and Mohammadreza Eyni)
• Mr. Nobody against Putin (TBA)
• The Perfect Neighbor (Geeta Gandbhir, Alisa Payne, Nikon Kwantu and Sam Bisbee)

Best Documentary Short Film

• All the Empty Rooms (Joshua Seftel and Conall Jones)
• Armed Only with a Camera: The Life and Death of Brent Renaud (Craig Renaud and Juan Arredondo)
• Children No More: “Were and Are Gone” (Hilla Medalia and Sheila Nevins)
• The Devil Is Busy (Christalyn Hampton and Geeta Gandbhir)
• Perfectly a Strangeness (Alison McAlpine)

Best Live Action Short Film

• Butcher’s Stain (Meyer Levinson-Blount and Oron Caspi)
• A Friend of Dorothy (Lee Knight and James Dean)
• Jane Austen’s Period Drama (Julia Aks and Steve Pinder)
• The Singers (Sam A. Davis and Jack Piatt)
• Two People Exchanging Saliva (Alexandre Singh and Natalie Musteata)

Best Animated Short Film

• Butterfly (Florence Miailhe and Ron Dyens)
• Forevergreen (Nathan Engelhardt and Jeremy Spears)
• The Girl Who Cried Pearls (Chris Lavis and Maciek Szczerbowski)
• Retirement Plan (John Kelly and Andrew Freedman)
• The Three Sisters (Konstantin Bronzit)

Best Music (Original Score)

• Bugonia (Jerskin Fendrix)
• Frankenstein (Alexandre Desplat)
• Hamnet (Max Richter)
• One Battle After Another (Jonny Greenwood)
• Sinners (Ludwig Goransson)

Best Music (Original Song)

• “Dear Me” from Diane Warren: Relentless (Diane Warren)
• “Golden” from KPop Demon Hunters (EJAE, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seo and Teddy Park)
• “I Lied to You” from Sinners (Raphael Saadiq and Ludwig Goransson)
• “Sweet Dreams of Joy” from Viva Verdi! (Nicholas Pike)
• “Train Dreams” from Train Dreams (Nick Cave & Bryce Dessner; lyrics by Nick Cave)

Best Sound

• F1 (Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo and Juan Peralta)
• Frankenstein (Greg Chapman, Nathan Robitaille, Nelson Ferreira, Christian Cooke and Brad Zoern)
• One Battle After Another (José Antonio García, Christopher Scarabosio and Tony Villaflor)
• Sinners (Chris Welcker, Benjamin A. Burtt, Felipe Pacheco, Brandon Proctor and Steve Boeddeker)
• Sirāt (Amanda Villavieja, Laia Casanovas and Yasmina Praderas)

Best Production Design

• Frankenstein (Tamara Deverell and Shane Vieau)
• Hamnet (Fiona Crombie and Alice Felton)
• Marty Supreme (Jack Fisk and Adam Willis)
• One Battle After Another (Florencia Martin and Anthony Carlino)
• Sinners (Hannah Beachler and Monique Champagne)

Best Cinematography

• Frankenstein (Dan Laustsen)
• Marty Supreme (Darius Khondji)
• One Battle After Another (Michael Bauman)
• Sinners (Autumn Durald Arkapaw)
• Train Dreams (Adolpho Veloso)

Best Makeup and Hairstyling

• Frankenstein (Mike Hill, Jordan Samuel and Cliona Furey)
• Kokuho (Kyoko Toyokawa, Naomi Hibino and Tadashi Nishimatsu)
• Sinners (Ken Diaz, Mike Fontaine and Shunika Terry)
• The Smashing Machine (Kazu Hiro, Glen Griffin and Bjoern Rehbein)
• The Ugly Stepsister (Thomas Foldberg and Anne Cathrine Sauerberg)

Best Costume Design

• Avatar: Fire and Ash (Deborah L. Scott)
• Frankenstein (Kate Hawley)
• Hamnet (Malgosia Turzanska)
• Marty Supreme (Miyako Bellizzi)
• Sinners (Ruth E. Carter)

Best Film Editing

• F1 (Stephen Mirrione)
• Marty Supreme (Ronald Bronstein and Josh Safdie)
• One Battle After Another (Andy Jurgensen)
• Sentimental Value (Olivier Bugge Coutté)
• Sinners (Michael P. Shawver)

Best Visual Effects

• Avatar: Fire and Ash (Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett)
• F1 (Ryan Tudhope, Nicolas Chevallier, Robert Harrington and Keith Dawson)
• Jurassic World Rebirth (David Vickery, Stephen Aplin, Charmaine Chan and Neil Corbould)
• The Lost Bus (Charlie Noble, David Zaretti, Russell Bowen and Brandon K. McLaughlin)
• Sinners (Michael Ralla, Espen Nordahl, Guido Wolter and Donnie Dean)

Best Casting

• Hamnet (Nina Gold)
• Marty Supreme (Jennifer Venditti)
• One Battle After Another (Cassandra Kulukundis)
• The Secret Agent (Gabriel Domingues)
• Sinners (Francine Maisler)

And with that, our list of nominees for the 98th annual Academy Awards comes to a close. Did your favorite of the year make it in, or are you taking interest in any new titles you saw? This year’s frontrunner is Ryan Coogler’s Sinners with a record-breaking 16 total nominations, blowing past the likes of All About Eve, Titanic, and La La Land which previously held the record with 14 total nominations each. Additionally, this round of Oscars brings a new category for the first time since 2001, Best Casting. As the clock ticks towards the ceremony on March 15th, we’ll keep you posted on all the show’s latest happenings and developments. Happy viewing! We’ll see you there.

Nearly three years ago, we published our review of Blumhouse’s first Five Nights at Freddy’s film ahead of the Halloween season. As someone who got into the franchise in its infancy, I was looking forward to seeing how they would scale up for the second film. After all, the second game in the series itself was one I remember improving upon and expanding on almost every concept explored in the first game, a feat I’d consider the sequel a better game overall for. Going into the sequel of the film adaptation, I was really hoping it would be sized up in all the best ways in that regard, right down to ending on my favorite song The Living Tombstone has produced of the franchise, It’s Been So Long.

At least they got that last one right.

As a game, Five Nights at Freddy’s 2 puts all the control at the player’s fingertips to man their station and put up a fight against an overwhelming amount of new and old faces. The new mechanics introduced are genius in how they both add strategy and aid in the story’s first attempt at some serious worldbuilding. As a movie, Five Nights at Freddy’s 2 feels multiple steps back from its predecessor, which is already a bad sign since, as stated in our original review’s title, Five Nights at Freddy’s isn’t perfect itself. Though, we also mentioned in the title that it’s okay it’s not perfect. Every franchise (even specifically video game adaptation franchise) has some growing pains it and its audience need to bear before hitting the ground running.

So can someone please explain why it feels like nothing happens in this film? Be warned we’re getting into spoiler territory with this review. I’m sorry, I try to keep these reviews mostly free of spoilers, but I need to fully rip into this one because it’s just so baffling to me.

Michael Afton (Freddy Carter) being separated as a character from Mike Schmidt (Josh Hutcherson) is a fine change. That doesn’t bother me so much as his motivations are just outright stated with no definitive reasoning. Was there any conditioning or psychological torture that led him to be so accepting and willing to carry William Afton’s (Matthew Lillard) legacy on? Are we just supposed to accept Vanessa’s (Elizabeth Lail) evil brother she never mentioned has been waiting this whole time for more people to come to the original abandoned flagship location? I know that sentence just went on and on horrendously, but that’s seriously the ACTUAL justification we’re fed and meant to accept.

Nothing in this movie feels like it matters. The toy animatronics are tearing up the whole neighborhood targeting childrens’ families, and Vanessa is still the only officer on the scene? With how much the adults of the town seem to condemn Fazfest, heightened police activity should be a given. Oh, sorry I forgot the adults in this movie are useless and don’t do anything. Mike doesn’t take what Abby (Piper Rubio) says seriously, and even the opening scene with the marionette features a million unhelpful adults who won’t take Charlotte (Audrey Lynn-Marie) seriously. This movie feels like it’s actively AGAINST progressing the plot in any satisfying way. Every beat of the antagonists’ plot continues on without a hitch until the last act where Mike rushes through the FNAF 2 gameplay loop and rushes back to his house to fight the toy animatronics and Michael Afton with Vanessa. And then the classic animatronics from the first film/game show up to defend the Schmidt family (from the “franchise location” as they call it in this film) before they shut down and the childrens’ spirits… go to heaven or something? It felt like a hamfisted attempt at resolving an unfinished business storyline that either didn’t fully develop or I didn’t care about at all.

Letting Scott Cawthon (the creator of the game series) in the writer’s room is something I hope to myself isn’t the core problem with this film series, but the signs are just horrible. He has such a specific flavor of making-this-up-as-we-go that plagues specifically his work in the franchise that no one else can replicate. Good for him still having creative control, but I just don’t think he knows how to write a compelling narrative for the big screen at all. I still want to see a Five Nights at Freddy’s 3, but Scott either needs to step his game up next time, or collect his paycheck and get out now.

Five Nights at Freddy’s 2 is now playing in theaters, and is available for purchase/rental on digital platforms.

Viewers who tuned into The Game Awards 2025 this past Thursday were treated to an exclusive preview of the Street Fighter film adaptation, directed by Kitao Sakurai and set to release October 16th of 2026. Though following the premiere, the audience could never have anticipated what happened next. One by one, the announcer called the majority of the cast onstage accompanied by their respective characters’ voice clips from the original games.

As someone who’s watched the Game Awards for years, I’ve never seen any reveal go quite like this. The event, hosted by Geoff Keighley, often calls in surprise celebrity guests to surprise fans—last year Harrison Ford made a memorable appearance joining Troy Baker onstage as the two Indiana Jones actors stood side-by-side for the first time. But this? Never before did a near-full cast of their work storm the stage to present an award following their long-awaited first look. A few names were omitted, however; I was personally a bit bummed seeing Eric André (who portrays Don Sauvage) skipped the ensemble appearance. The energy he brings to any live event fills the room, whether through his spontaneity or other such chaos, and I felt he would be a perfect fit for the Game Awards stage. Kitao Sakurai, the director of the film, even directed Bad Trip starring the Adult Swim talk show host, and even served as director on said Adult Swim show.

Even still, it felt like the cast appearance had something (someone?) for everyone. One of my friends was overjoyed to see Cody Rhodes and Roman Reigns together on the stage, who play Guile and Akuma respectively. The film’s casting feels really solid for the most part, with even some of the unconventional picks firing on all cylinders in terms of how they hold themselves in the trailer and how they appear relative to their game counterparts.

After throwing some shade at the cast of the upcoming Mortal Kombat II, the cast would go on to present the award for Best Ongoing Game to Hello Games’ No Man’s Sky (2016), which has continued releasing multiple updates every year to build its world, the most recent one being Breach from October of 2025.

Street Fighter is one of the earliest names in gaming to have gotten a film adaptation, with animated and live-action features both releasing in 1994. However, this new crack at the IP started with the Philippou brothers of RackaRacka on YouTube, though more recently the two have directed Talk To Me and Bring Her Back for A24. Incidentally, the two turned down the direction opportunity in order to work on the latter. Kitao Sakurai was announced as the new director in February of 2025, and looking at his work directing The Eric Andre Show, in which things break and people get hurt every other minute, it’s safe to say he’s a great pick for a combat-focused film like Street Fighter seems to be.

Kitao Sakurai’s Street Fighter will be released in theaters by Paramount Pictures on October 16th, 2026.

Any viewer of late-night adult animation is familiar with the boom in popularity coming from Adult Swim’s Smiling Friends, a joint effort between creators Michael Cusack and Zach Hadel. The series feels like it has both a cult fanbase and a wider appeal at the same time, evident through at least one clip from the previous Sunday’s episode going viral on Twitter.

“The Glep Ep” wrapped the third season this past Sunday, exploring the origins of the titular “prop character” as he’s often been dubbed by Cusack and Hadel. The episode actually goes in-depth about the history of Smiling Friends as a company and how Glep played a foundational role in its creation. The episode explores a few dark and heartfelt moments while keeping up the iconic silly, sudden tone the show has been known for since its pilot. Fans expected as much, since Adult Swim refused to share much about the episode aside from the same two clips from its intro.

The unfortunate news is that with the eighth episode, the show seems to have run its course as it has for the previous two seasons. However, eagle-eyed fans spotted a listing on the Warner TV Germany website that indicated this wasn’t the last we’d be hearing of the critters this season.

The two episodes, “Friend Bot (version 12589218731809213528796879521)” and “Charlie’s Uncle Dies and Doesn’t Come Back”, don’t seem to have any release information beyond their synopses and probable 11-minute runtimes. The former did not air a preview following “The Glep Ep” as all previous episodes of the season had, which leads us to think Adult Swim’s decision to give the season a full 10 episodes may have come later in the season’s production. This would mean these episodes may not premiere until sometime in 2026, which would give fans of Smiling Friends some more noshings while waiting for the already greenlit fourth and fifth seasons of the show.

Crew members on the show have implied or outright confirmed this ten-episode order, though the creators themselves have remained silent. It’s fair to say the remaining two episodes are in fact real, but until there’s further word on their release, we’ll just have to keep our eye on Pim and Charlie. Just hope it’s not a big, disembodied one brought about by Mr. Boss’ ex-wife.

The third season of Smiling Friends is now streaming on HBO Max.

In 2021, Glenn Holsten’s Hell or High Seas was released by our parent company, Invincible Entertainment. This powerful story follows veteran Taylor Grieger and the film’s writer Stephen O’Shea on a personal journey of self-reflection, sailing the waters of Cape Horn in Chile. As the waves thrash the ship night and day, both Taylor and Stephen find themselves opening up to the audience about what this trip and documentary mean to them.

We covered this film twice before on Don’t Tell, once in 2021 upon news of its distribution and again the following year covering the film’s contents. For Veterans Day this year, we felt it appropriate to boost the film once more. Whether viewed by another war veteran or even someone not very knowledgeable on its topics, the film covers a lot of ground that left the audience emotional and captivated following its premiere screening.

Hell or High Seas is now streaming on our sister site, Galxy.tv. If you’re in search of more Veterans Day flicks this Tuesday, please make sure to check out our Veterans Day Collection list!

And all I got was this stupid photo.

When Universal Studios Orlando announced their lineup for their 2025 Halloween Horror Nights haunted houses, there seemed to be something for everyone. Classics like the Jason Universe saw massive positive reception, as well as new age cult classics like the Terrifier series. For primarily younger horror demographics, however, one name immediately stuck out like a sore thumb: Five Nights at Freddy’s. This haunted house would allow parkgoers and fans alike to step inside the world of the video game (though, this and the Fallout haunted house were mainly inspired by their adaptations) and see its elements up close in person for the first time. Fully moving animatronics on the main stage, the security office, the kitchen, and maybe even the man behind the slaughter himself. Anyone who was there in the series’ early days, especially little kids, had the same collective thought back in the day: it would be so cool to go to a real-life version of this place. You know, preferably without the haunted animatronics and risk of being shoved into a springlocked Freddy Fazbear suit, but you get the gist. This was quite literally a dream come true for so many fans, young and old. So when I found out I’d be going to Universal Studios Orlando right in the nick of time, I knew I couldn’t pass up this opportunity.

We arrived at the city walk at around 4:30 from our shuttle (Epic Universe is great, by the way. Definitely go there.) and stopped for some dinner beforehand. Picking whatever the first place we saw was, we ended up at The Cowfish, a strange fusion restaurant combining sushi and burgers in their signature dish dubbed the “burgushi”. None of this plays into the Five Nights at Freddy’s part of this story, but it’s important to me that you know this. Across from the restaurant was one of Universal Studios Orlando’s many stores, where they had a Freddy Fazbear decal right in the window alongside plushies of the main four inside. They meant business, and knew exactly what many young people were there for.

Advancing to the haunted houses through the Halloween Horror Nights gates leading to the main park, we followed the signs leading us to the haunted houses. The line for the Five Nights at Freddy’s haunted house was held in what I assumed was the former sound stage of many Universal productions. As it turns out, the whole of Universal Studios Orlando’s studio lot theming is actually ripped from Universal Studios Hollywood, in which parkgoers can go on a tour of their real studio lots. So many iconic films were produced at that location in those very sound stages, and we were being held in a crowded replica full of tired, overheated, and possibly drunken Five Nights at Freddy’s fans.

After about an hour of standing around and slightly moving forward, we exited the sound stage in the final lane of its crowded line. Expecting to have been met with an entrance to the fictional 80’s entertainment center, we were instead shocked to find… another line. This one did not appear nearly as packed as the sound stage line, though not for lack of trying. This line stretched out and wrapped around multiple other sound stages outside the one we had just come from, and the sweaty Florida heat almost made this wait harder to bear. It took nearly ANOTHER hour before we found ourselves in the final lane of what we hoped was, dear God, the final line. Thankfully, we could see the residual glow of the neon lights through the back entrance we were being fed into. I hoped that in spite of the near two hours we waited in that sweaty, cramped, fatigued line that maybe, just MAYBE this haunted house would have been worth it. And before us, there it suddenly was.

This was the only photo I could capture before they threatened to kick me out. We walked through the entrance, past the animatronics (singing “Talking In Your Sleep” by The Romantics like in the film), through the main office, past the kitchen, being jumpscared all the way throughout.

And then, it was done.

We were disappointed to say the least. I mean, all that waiting for THAT? We definitely set our expectations too high. I feel like any Halloween Horror Nights veteran would have known what to expect from the haunted houses at this point, but to someone new, ESPECIALLY following such a long line, it just felt a lot cheaper and quicker than we had expected. Then again, that’s kind of the fun of the franchise even from just the first game. My mind keeps going back and forth on if this was a waste of time or exactly what it needed to be, but to be honest, I’m overthinking this. It’s kind of in a Five Nights at Freddy’s fan’s nature to sweat the little details and go absolutely crazy trying to figure things out, and I’m not gonna be that guy. I’m not even going to complain about a lack of Golden Freddy representation—though the guy who will is probably out there somewhere, waiting with bated breath for you to ask him. In any case, it was both really cool to see one of my childhood fantasies finally realized in a material sense with the Five Nights at Freddy’s haunted house at Universal Studios Orlando, and something I’ll probably never go to again.

If you want to explore a haunted house of your own while at home this Halloween, come check out our title selection on our sister site Galxy.tv! Live in the moment with the found footage film 8213: Gacy House, as well as the chilling 100 Ghost Street: The Return of Richard Speck. Happy Halloween, everyone!