'Spotlight' (2015) – "Spotlight" - a film about Boston Globe investigative reporters digging into a sex abuse scandal involving Catholic priests - won best picture at the 88th annual Academy Awards. Here's a look back at all of the past winners for best picture: 'Wings' (1927) – The first Academy Awards were given out at a dinner on May 16, 1929. The best picture winner was 1927's "Wings, " a film about World War I pilots starring Clara Bow, right, Charles "Buddy" Rogers, left, Richard Arlen and Gary Cooper. Even today, the silent film's aerial sequences stand out as some of the most exciting ever filmed. Another film, "Sunrise, " was given an Oscar as most "unique and artistic production, " an honor that was eliminated the next year. The academy didn't begin using a calendar year for awards until movies made in 1934 (with ceremonies held in 1935). 'The Broadway Melody' (1929) – The musical "The Broadway Melody" was the first sound film to win best picture. The film stars Charles King, Anita Page and Bessie Love. 'All Quiet on the Western Front' (1930) – "All Quiet on the Western Front, " best picture of 1929-30, was the film adaptation of Erich Maria Remarque's classic novel. The film stars Lewis Wolheim and Lew Ayres and was directed by Lewis Milestone. 'Cimarron' (1931) – "Cimarron, " based on the Edna Ferber novel, is best remembered for its portrayal of the 1889 Oklahoma Land Rush, which literally featured a cast of thousands. Richard Dix and Irene Dunne star in the film. 'Grand Hotel' (1932) – The all-star cast of "Grand Hotel, " including Greta Garbo and John Barrymore (pictured), portrayed characters in a mix of plot lines at a Berlin hotel. The film won just the one Oscar, but has been immortalized for one of Garbo's lines of dialogue: "I want to be alone." 'Cavalcade' (1933) – "Cavalcade, " based on a Noel Coward play, won the 1932-33 prize for best picture. The film follows a London family from 1899 to 1933 and stars, left to right, Una O'Connor, Diana Wynyard and Clive Brook. 'It Happened One Night' (1934) – "It Happened One Night" was one of the great underdog winners. Its studio, Columbia, wasn't considered one of the majors at the time, and neither Clark Gable nor Claudette Colbert, its stars, were excited about the project. But it became the first film to sweep the five major categories of picture, actor, actress, director and screenplay. To this day, only two other films - "One Flew Over the Cuckoo's Nest" (1975) and "The Silence of the Lambs" (1991) - have pulled off the same trick. 'Mutiny on the Bounty' (1935) – Clark Gable was in the best picture winner the next year as well, playing Fletcher Christian in the 1935 version of "Mutiny on the Bounty." Charles Laughton plays Captain Bligh. 'The Great Ziegfeld' (1936) – Luise Rainer stars in "The Great Ziegfeld." She picked up an Oscar for best actress, though William Powell, who played the title figure, came up empty (although he was nominated for another movie, "My Man Godfrey"). 'The Life of Emile Zola' (1937) – "The Life of Emile Zola" won three Oscars, including best picture. The film is a biography of the famed French author. Star Paul Muni was nominated for best actor but lost to Spencer Tracy ("Captains Courageous"). 'You Can't Take It With You' (1938) – "You Can't Take It With You" is one of the rare comedies to win best picture. The film, based on the George Kaufman and Moss Hart play, stars James Stewart, Jean Arthur and Lionel Barrymore. It also won a best director Oscar for Frank Capra, Capra's third in five years. 'Gone With the Wind' (1939) – Still considered one of the great Hollywood epics, 1939's "Gone With the Wind" won 10 Oscars, including best picture and best actress for star Vivien Leigh, right. Though Clark Gable was nominated for best actor, he lost to Robert Donat ("Goodbye, Mr. Chips") in one of the great Oscar upsets. 'Mrs. Miniver' (1942) – Hollywood's war effort went full throttle with William Wyler's "Mrs. Miniver" starring Walter Pidgeon and Greer Garson as a heroic couple whose family endures German air raids during the Battle of Britain. Garson also won the best actress award and received much flak for a lengthy acceptance speech that became the stuff of Hollywood legend. 'Going My Way' (1944) – Hollywood's favorite crooner became its favorite priest. Bing Crosby, left, won the best actor award as Father Chuck O'Malley in "Going My Way." He encountered resistance from a crusty old priest (Barry Fitzgerald) when he tried to help an impoverished church parish. 'The Lost Weekend' (1945) – With World War II coming to an end, Hollywood turned to dark subject matter, such as alcoholism in Billy Wilder's "The Lost Weekend." Star Ray Milland, left, won the best actor award as a writer on a binge. Howard Da Silva was the bartender. 'The Best Years of Our Lives' (1946) – Veterans Fredric March, pictured, Dana Andrews and Harold Russell returned home to adjust to life in post-war America in this William Wyler classic. Myrna Loy, Teresa Wright and Cathy O'Donnell were the women in their lives who also found the world much more complicated with the war's end. Russell, a real vet, lost both hands in World War II. 'Gentleman's Agreement' (1947) – Elia Kazan's "Gentleman's Agreement" continued Hollywood's exploration of more serious subject matter, this time anti-Semitism. Gregory Peck, right, plays a reporter who goes undercover posing as a Jew, making his girlfriend (Dorothy McGuire) face uncomfortable truths about her upper class WASP life. A young Dean Stockwell played Peck's son. 'Hamlet' (1948) – A British film took home the best picture Oscar when Laurence Olivier directed himself in an Oscar-winning role as Shakespeare's famous Danish prince who cannot make up his mind. Olivier trimmed the play's text and chose to do Hamlet's famous soliloquy ("To be, or not to be, that is the question") as a voice-over. Jean Simmons was Ophelia. 'All the King's Men' (1949) – Unlike the 2006 remake with Sean Penn, this adaptation of Robert Penn Warren's Pulitzer Prize-winning novel was a critical and box-office success. Star Broderick Crawford also won the best actor award for his role as Willie Stark, a cynical politician who rises to become governor. Any resemblance to Louisiana's Huey Long was mere coincidence. 'All About Eve' (1950) – Director Joseph L. Mankiewicz's screenplay about an aging actress (Bette Davis, right) battling a scheming newcomer (Anne Baxter) remains one of the most quotable movies ever almost 65 years after its release. "All About Eve" held the record for a movie with the most Oscar nominations (14) until "Titanic" tied it in 1997. A young Marilyn Monroe, center, also attracted attention in an early role. As Margo Channing (Davis' character) would say, "Fasten your seat belts, it's going to be bumpy night!" 'An American in Paris' (1951) – This MGM musical with Gene Kelly as an aspiring artist who falls for Leslie Caron in the City of Light faced stiff competition at the Oscars. But "An American in Paris" scored a major upset when it beat dramatic heavyweights "A Place in the Sun" and "A Streetcar Named Desire" for best picture.

On completion of 100 years of Indian Cinema, it's definitely an unfortunate moment that despite of honest attempts Indian movies could not win any Oscar Awards. On the contrary we can say that Bollywood is living up to its audience's choice by producing movies with 'entertainment' as the sole factor. Since 1957, India has sent 45 films as its official entry for the Oscars. Out of these, only 3 films - Mother India (1957), Salaam Bombay (1988) and Lagaan (2001) were nominated for the Oscars in the "Best Foreign Language Film". Not many know that An Encounter with Faces was filmmaker Vidhu Vinod Chopra's first directorial attempt and interestingly won a nomination at the Oscars. It was a short documentary film by Chopra and nominated in the 'Best Documentary on Short Subjects' category where in Ashwin Kumar, son of fashion designer Ritu Kumar, made his entry to the Oscar nomination list with his short film 'Little Terrorist'. This 15-minute short was about a boy who crosses the line of control between India and Pakistan. On the other hand, if not Bollywood movies as a whole, we have Indians as Oscar winners. India received its first Oscars in 1982, when honorary Bhanu Athaiya won the award as the Best Costume Designer for Richard Attenborough's film Gandhi in 1982. Exactly after a decade Satyajit Ray received honorary Academy Awards at Oscars. 2008 was the best year for Indian Cinema as Bollywood cash in 3 Oscar awards. Russell Pookutty won Best Sound Mixing (with Ian Tapp and Richard Pryke) for Slumdog Millionaire, followed by A.R Rahman won Best Score and Best Original Song (music) again for Slumdog Millionaire, Gulzar won Best Song (lyrics) for Slumdog Millionaire. That was all about Bollywood and Oscars, now let us turn our focus to Films which had strong Indian connections and filmed in India but unfortunately were not a Bollywood movies. One of such is definitely Slumdog Millionaire, an Indian based movie with a Hollywood producer, Danny Boyle. Slumdog Millionaire shot entirely in India and with an almost Indian cast won as many as 8 Oscars in different category. The next movie would be obviously Life Of Pi , again a film produced by foreign producers yet have Indian actors like Irfan Khan, Tabu, Suraj Sharma and is also filmed in India. If talking about Oscar wining movies and Indian connections, one should not forget the renowned movie Gandhi in 1982, an epic biographical film which dramatises the life of Mohandas Karamchand Gandhi. It took an Englishman, Richard Atten borough to make the best biographical film on India's most prominent freedom fighters Mahatma Gandhi. Ben Kingsley portrayed Gandhi to perfection. Like Slumdog Millionaire, Gandhi too, wasn't an Indian film though it was widely shot in India and had several Indian actors in its cast. And like Slumdog, Gandhi too went on to win 8 Oscar Awards. The last but not the least is

United States Air Force Academy United States Military Academy United States Naval Academy United States Merchant Marine Academy Eligibility Requirements Applicants must meet the following eligibility requirements as of July 1 of the year of admission: Reside in the 2nd Congressional District to receive a nomination from Congressman Polis Be at least 17 years old, but not have passed their 23rd birthday (25th birthday for the Merchant Marine) Be a legal U.S. Citizen Be unmarried, not pregnant, and without legal obligations to support children or dependents Applying for a Nomination Those interested in a nomination must complete and submit an application. You must also begin the application process with the U.S. Service Academy or Academies of your choice, as well as your U.S. senators and/or the vice president of the United States. Congressional representatives may only nominate a slate of 10 applicants for each U.S. Service Academy vacancy. A nomination panel and staff will review applications and conduct interviews. Congressman Polis will review and confirm the panel’s recommendations. The nomination method may vary by Congressional office. The nomination method used in the 2nd Congressional District is called “competitive with a primary, ” and is designed to select qualified and diverse candidates. Of the 10 nominations comprising of a slate, one candidate will be selected as a primary and listed in the #1 slot. The other nine candidates will be listed as a competitive nomination in slots #2-10. The U.S. Service Academy will review all 10 nominations for the most qualified candidates. They have the ultimate responsibility to appoint based on several “whole person” factors, including, but not limited to: academic and test records, athletic activities, leadership potential, medical qualifications, extracurricular activities, and diversity in perspective.

The films are at once sweeping and intimate, offering portrayals of family upheavals and vast narratives that set characters against the sins of transgression and tumult of change, including Hungary’s entry, “Son of Saul”, directed by Laszlo Nemes, which unfolds through the eyes of a Jewish slave laborer who herds fellow Jews to their deaths at the Auschwitz-Birkenau concentration camp. The movie recently won the Golden Globe for best foreign film. “Embrace of the Serpent, ” from Colombian director Ciro Guerra, reveals in startling black-and-white cinematography the majesty of the land and the degradation – moral and otherwise – colonialism wrought on the indigenous tribes of the Amazon. “A War, ” by Danish director Tobias Lindholm, traces his nation’s involvement in the Afghan conflict through the ordeal of a commander charged with war crimes. War is also the backdrop in “Theeb, ” directed by Jordanian filmmaker Naji Abu Nowar, which tracks a Bedouin boy’s adventure against the dying days of the Ottoman Empire. “Mustang, ” the French entry by Deniz Gamze Ergüven, is the story of five exuberant sisters challenging the traditions of Turkish village life in a patriarchal society. In a recent interview at the Palm Springs International Film Festival, Ergüven, who has been criticized by some Turkish conservatives, said she chose the name “Mustang” to connote the image of freedom. “I wanted one word which would encapsulate the spirit of the girls — which was untamable, wild, free. There is a strength, there is the visual rhyme of their hair, when they’re running around the village, they’re like little wild horses. I looked for different names of wild horses around the world, and this one generated the most in terms of imagery. Then we made the word ours. Now when I see a little girl running freely, I think ‘mustang.’" Tobais said his film — like the others nominated — was about individuals and societies coming to terms with larger, inexorable forces. “Denmark jumped right into the war with the U.S. and Britain. It came as a shock to everybody. We had no idea what it was to go to war, ” he said. “What we knew was the pain we felt after 9/11, an attack on the free world. We had to do something.” He added: “But now in Denmark — and this film’s part of it — we’re going through a small-scale Vietnam phase trying to understand what we have been part of. Who are these [soldiers] we now have to bring back into society and understand again. How do we justify what we’ve done? Helmand in Afghanistan [where the Danish soldiers fought] has fallen back to the Taliban. It seems right now that nothing helped, but all these people have died.”

The 88th Academy Awards has taken place in LA, or 'The Roast of White Male Hollywood Executives' as it may well turn out to be known. Awards-wise, Leonardo DiCaprio finally got his Oscar, recognition mostly made in arrears for his past roles given his latest in The Revenant mostly just sees him falling down and then getting up again ad infinitum . *PLEASE WAIT A MOMENT FOR THE LIVE BLOG TO LOAD* This year's performers: Lady Gaga, The Weeknd, Sam Smith, Dave Grohl. This year's presenters: Cedering Fox, J. J. Abrams, Patricia Arquette, Abraham Attah, Sacha Baron Cohen, Joe Biden, Cate Blanchett, Emily Blunt, Steve Carell, Henry Cavill, Priyanka Chopra, Louis C.K., Common, Russell Crowe, Chris Evans, Tina Fey, Morgan Freeman, Jennifer Garner, Whoopi Goldberg, Ryan Gosling, Louis Gossett, Jr., Kevin Hart, Quincy Jones, Michael B. Jordan, Lee Byung-hun, John Legend, Jared Leto, Rachel McAdams, Julianne Moore, Olivia Munn, Jason Segel, Dev Patel, Eddie Redmayne, Daisy Ridley, Margot Robbie, Andy Serkis, Sarah Silverman, J. K. Simmons, Charlize Theron, Benicio del Toro, Jacob Tremblay, Sofía Vergara, Kerry Washington, Pharrell Williams, Reese Witherspoon.

What is a “Best Picture?” The award gets handed out every year, and our culture has collectively decided it’s a worthy title, one that means said film is agreeably very good, maybe even great. But taking a closer look at the various films that have won the Best Picture Oscar over the years, it’s clear the award doesn’t automatically equal longevity, or even quality. A Best Picture is a moment, a snapshot in time. Certain wins make sense given what was going on in the world during that particular year, certain wins make no sense at all in hindsight, and certain wins are just downright deserved. All of this to say that a Best Picture win doesn’t necessarily mean that said film is the best motion picture of that particular year, and doesn’t even guarantee that it’ll be the movie most remembered in 10 or 20 years time. The English Patient won Best Picture in 1996, but also nominated that year was Fargo , a film that history has clearly favored. And this is important to remember as we reach the end of the current Oscar season. Which is why, ahead of the ceremony, I’ve decided to take a look back at the last 10 winners of the top honor and rank them, from worst to best. Are these the 10 best films of the last decade? Of course not. But they’re the 10 films that won Best Picture, for better or worse, and I think looking back on the various winners provides some much needed perspective to the Oscars in general. As becomes abundantly clear, not all Best Picture winners are created equal.

Related: Oscars 2016 winners: the full list from Alicia Vikander to Leonardo DiCaprio The 26-year-old actor beat competition from Saoirse Ronan and Charlotte Rampling. It was her first nomination and followed Bafta and Golden Globe wins for her performance. In the film, which was nominated for three other Oscars, Larson stars as a woman kept in a shed with her young son. “The thing that I love about movie-making is how many people it takes to make it, ” she said in her acceptance speech. “Thank you to the moviegoers.” Before Room, Larson had previously broken out with a role in Short Term 12, which earned her an Independent Spirit award nomination. She had also starred in comedies 21 Jump Street, Don Jon and last year’s Trainwreck. After her win for Room, Larson has a number of projects set for release. She’ll be seen alongside Cillian Murphy and Armie Hammer in Ben Wheatley’s action thriller Free Fire, as a scientist sent to India in musical Basmati Blues, and taking on her first major blockbuster role in Kong: Skull Island

It was a very starry affair with joy and excitement raging in the air! The 61st edition of the Britannia Filmfare Awards 2015 finally came to an end with trophies for the Best Actor and Best Actress category been taken. And the winners are, as was probably expected, Ranveer Singh and Deepika Padukone. While it may have seemed earlier that the love birds' reel life romance in 'Bajirao Mastani' might have earned them both the award, the reality was far different. While Ranveer did bag the award for his outstanding performance as Peshwa Bajirao I in Sanjay Leela Bhansali's period drama, Deepika took home the trophy for breathing life into the title character of the Shoojit Sircar directorial, 'Piku.' While accepting the award, Deepika said, "I dedicate the award to my parents. Thank you Shoojit sir." Dippy even read out an emotional letter that her dad addressed to her. Ranveer too left his quirky antic aside for once and touched his lady love DP's parents' feet before accepting the award. In his thank you speech the actor, as always expressed his gratitude to his sister saying, "Thank you for being my second mother." Click here for more Bollywood videos Incidentally, Bhansali also won the Best Director award for the same film. And as it happens, the film that went on to win the audiences also made a mark at the award event with the maximum award to its credit. From Best Action to Best Costume to Best Singer to Best Production Design, the film had a lot many trophies to take home. The night, thus, ended on a very high and emotional note!

At times it feels as if we’re living in something of a cinematic golden age, but one that’s altogether different from earlier halcyon days. Where some celebrate the former genius of the system to explain an earlier day’s proliferation of fine movies, now the system is something of a blunderer that often flings itself into follies or even crushes inspiration under its weight, but sometimes gets carried away, for reasons good or bad, and hands surprising control of vast resources over to artists who make stunningly audacious and personal use of them. The best filmmakers working in Hollywood have a passionate grasp of the cinematic past, but they don’t swoon over its polish or emulate its styles, they excavate it for its raw materials. There’s also a ferment here of independent filmmaking that liberates young people who, in earlier times, might have had to scuffle or supplicate for years while angling for a practical chance that now, with video, and with adequate effort, they can seize for themselves. Some of these independents have developed distinctive methods as well as aesthetics—regarding subject matter, picture, and performance—that are apt for the means of production. They make their lives, their homes, their families, their problems, and even their art the focus of their movies, and because, in their individuality, they share much with others in their generation, their stories, at their best—reflecting the age-old clashes and strivings of talented and ambitious youths in life, love, and art—reverberate deeply and widely. Meanwhile, the proliferation of arthouse cinemas and the sudden availability of classics on DVD and via Netflix go hand in hand with the rise of their art: their fierce focus on the immediate and the intimate includes the intensely personal experience of movies—whether treasures from the history of cinema or instant classics newly arrived from around the world. And, thanks to the Internet’s rapidity of ripple-effects that carry word from bloggers and enthusiasts to the world at large, the independent aesthetic and its artists have quickly had an impact on the Hollywood mainstream, in salutary ways. On the international scene, if Europe is (with a few exceptions) no longer the limitlessly fertile ground for movie art that it once was, there are wonderful filmmakers appearing in places where formerly there were few. Here, too, aesthetic and methods have developed together, and the opening of the cinema to new ranges of experience is matched by the increasing diversity of styles and practices. (The vagaries of distribution keep from this list a bunch of movies that have been shown at festivals or special series but haven’t yet been released theatrically here.) It’s a great moment to be watching movies, and this year a ten-best list would be an absurd constraint. The first five movies named below are head and shoulders above the year’s other releases, but the next twenty are all worthy successors, and, depending on my mood on a given day, could change places freely. I’ve tried to line them up in ways that suggest resonances between them. What can be said is this: at a moment when academic study and digital media make the cinematic past even oppressively omnipresent, when changing technologies put the very nature of cinematic practice into doubt, and when the economy of the industry seems caught between the Scylla of production costs and the Charybdis of uncertain distribution, new generations around the world for whom the cinema is a prime part of identity and a crucial mode of self-recognition are nonetheless drawing it, with remarkable industriousness, into ever-closer contact with their own lives and experiences, and, as a result, are bringing forth a burgeoning, exhilaratingly eruptive and disruptive present-tense cinema that already looks ahead to the cinema of the future. 1. “Shutter Island” (Martin Scorsese) Images that seem wrenched from the most visceral side of the director’s mind—a sort of cinematic self-psychoanalysis that becomes a collective confession of the substantial fears and horrors of a historical moment that’s not only not lost but constantly being rediscovered as style.

By anajarteaga created 9 months ago last updated - 9 months ago 1. Galingasis 6 (2014) The special bond that develops between plus-sized inflatable robot Baymax, and prodigy Hiro Hamada, who team up with a group of friends to form a band of high-tech heroes. (102 mins.) 2. Lego filmas (2014) An ordinary Lego construction worker, thought to be the prophesied 'Special', is recruited to join a quest to stop an evil tyrant from gluing the Lego universe into eternal stasis. (100 mins.) 3. Ralfas Griovejas (2012) A video game villain wants to be a hero and sets out to fulfill his dream, but his quest brings havoc to the whole arcade where he lives. (101 mins.) 4. Ledo salis (2013) When the newly crowned Queen Elsa accidentally uses her power to turn things into ice to curse her home in infinite winter, her sister, Anna, teams up with a mountain man, his playful reindeer, and a snowman to change the weather condition. (102 mins.) 5. Karaliska drasa (2012) Determined to make her own path in life, Princess Merida defies a custom that brings chaos to her kingdom. Granted one wish, Merida must rely on her bravery and her archery skills to undo a beastly curse. (93 mins.) 6. Ilgo plauko istorija (2010) The magically long-haired Rapunzel has spent her entire life in a tower, but now that a runaway thief has stumbled upon her, she is about to discover the world for the first time, and who she really is. (100 mins.) 7. Zaislu istorija 3 (2010) The toys are mistakenly delivered to a day-care center instead of the attic right before Andy leaves for college, and it's up to Woody to convince the other toys that they weren't abandoned and to return home. (103 mins.) 8. Aukstyn (2009) Seventy-eight year old Carl Fredricksen travels to Paradise Falls in his home equipped with balloons, inadvertently taking a young stowaway. (96 mins.) 9. WALL·E: siuksliu princo istorija (2008) In the distant future, a small waste-collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind. (98 mins.) 10. Nerealieji (2004) A family of undercover superheroes, while trying to live the quiet suburban life, are forced into action to save the world. (115 mins.) 11. Brother Bear (2003) When a young Inuit hunter needlessly kills a bear, he is magically changed into a bear himself as punishment with a talkative cub being his only guide to changing back. (85 mins.) 12. Zuviukas Nemo (2003) After his son is captured in the Great Barrier Reef and taken to Sydney, a timid clownfish sets out on a journey to bring him home. (100 mins.) 13. Treasure Planet (2002) A Disney animated version of "Treasure Island". The only difference is that the film is set in outer space with alien worlds and other galactic wonders. (95 mins.) 14. Bjaurusis as (2010)