Can we give Patrick Wilson the Oscar for *his* Freddie Mercury instead?

We love this man.

And this queen doesn't need to lipsynch. Where is his movie musical star vehicle? The film version of Phantom of the Opera was 14 years ago and he was much less famous then. We've seen him in both of his Tony-nominated roles (The Full Monty and Oklahoma!) and he was marvelous both times and that voice is just pure melodic pleasure, transporting really. Perfect for a big sweeping romantic musical. He hasn't been on Broadway in 10 years but he's co-starred in several box office hits in that time so why aren't movie musical producers snatching him up?

WHAT IS WRONG WITH HOLLYWOOD? (A perennial question when it comes to the movie musical genre). If you were somehow unaware of his musical gifts, there are more videos after the jump because we're in a... mood.

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Blueprints: Memorable scenes from your "Best Adapted Screenplay" nominees

by Jorge Molina

Last week we dove into the nominees for Original Screenplay. Unlike that category, which feels up in the air with a batch of uneven contenders, the adapted nominees reflect a much richer group of screenplays overall. From the pitch-perfect blending of genres and race-commentary in BlackKklansman, to the lyricism and poetry of If Beale Street Could Talk, and from the snark and melancholy in Can You Ever Forgive Me?, to the dark ironies that permeate through all the tales in The Ballad of Buster Scruggs, andthe interpersonal relationships against the backdrop of superstardom in A Star Is Born, each nominee says what it needs to say in a way only it could have. Let’s have a look at each of the nominees...

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Sundance: "The Sound of Silence"

Abe Fried-Tanzer reporting from Sundance

There is a lot of noise in New York City. You’d be hard-pressed to find a single person who disagrees with that statement. Suggesting that there is meaning to be found within the multitude of sounds emanating at all volumes and all times of the day and night is more of a stretch. That’s the premise of Michael Tyburski’s The Sound of Silence, playing as part of the U.S. Dramatic Competition at Sundance.

Peter Sarsgaard stars as a 'house tuner,' also named Peter, who helps people achieve an aural balance in their homes that will translate to harmony and tranquility in other aspects of their lives...

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Today's Mood(s)

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Sundance: Choose Your Own Interpretation of "Luce"

Abe Fried Tanzer reporting from Sundance

People walk through this world with different levels of privilege. It’s a concept that’s become more widely understood of late, and certainly featured prominently in numerous films in recent years. In fact, 24 year-old actor Kelvin Harrison Jr. has starred in a handful that have played at Sundance, including both Monster and Monsters and Men just last year. This year, he stars opposite Naomi Watts in two films. One is The Wolf Hour, a dreary tale of agoraphobia in 1970s New York City that mildly touches on race and class. The other, which tackles the notion of privilege and prejudice, is Luce.

Harrison Jr. stars as the title character, who was adopted from Eritrea at age 7 by Amy (Watts) and Peter (Tim Roth), and, with the help of considerable therapy to overcome his violent childhood, has excelled incredibly and become the class valedictorian...

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