This year, I will be publishing my predictions for the wins in each film category of the Golden Globes. For my predictions, follow me on Twitter @ZFRAnd during the broadcast (Jan. 10 at 8 p.m. Eastern time on NBC), or visit franklyzach.com

Best Picture – Drama

• “Carol” (Todd Haynes)

Unlike other types of counselling in Mumbai, sex counselling emphasizes on human sexuality and partner’s commander cialis intimacy, physical facets of our lives that are often problematic to discuss. Therefore if you are an impotency victim then you should choose this solution to let it allow rectifying your inability in order order cialis to boost nitric oxide level. levitra professional canada The remaining participants were then randomly allocated to either join the ‘intervention’ group or the ‘control’ group. A prolonged stay in this condition may negatively affect the psychological assessment of a person and cause a disruption in the nerve impulses from the brain to the penile nerve with prescription de cialis ease.

• “Mad Max: Fury Road” (George Miller)

• “The Revenant” (Alejandro González Iñárritu)

• “Room” (Lenny Abrahamson)

• “Spotlight” (Tom McCarthy): This year, the movies reflected our need for truth and justice and no film did this greater than “Spotlight.” Simply crafted and photographed with journalistic integrity, the film makes the audiences think for themselves.

Best Picture – Comedy

• “The Big Short” (Adam McKay)

• “Joy” (David O. Russell)

• “The Martian”(Ridley Scott)

• “Spy” (Paul Feig)

• “Trainwreck” (Judd Apatow): Amy Schumer’s semi-autobiographical film broke boundaries and redefined comedic roles for women. Her trademark raunchy humor would be what makes the film if it weren’t for Schumer’s performance and heart in her material.

Best Actor – Drama

• Bryan Cranston as Dalton Trumbo (“Trumbo”)

• Leonardo DiCaprio as Hugh Glass (“The Revenant”): For God’s sake, give Leo a statue already! I don’t exclaim it because he unjustly lost to Matthew McConaughey (because he didn’t) but because he is putting his life on the line for one. He broke his vegetarian diet for this film, and he still somehow finds a way to be good. Perhaps earning a Golden Globe will nudge the Academy?

• Michael Fassbender as Steve Jobs (“Steve Jobs”)

• Eddie Redmayne as Lili Elbe / Einar Wegener (“The Danish Girl”)

• Will Smith as Dr. Bennet Omalu (“Concussion”)

Best Actress – Drama

• Cate Blanchett as Carol Aird (“Carol”)

• Brie Larson as Joy “Ma” Newsome (“Room”): This year’s roles for women are a huge step forward from last year. Ma in “Room” demonstrates powerful and heart-breaking determination and love. She makes sure the worst thing that  happens to her will not be the worst thing to happen to her son; that in itself is admirable.

• Rooney Mara as Therese Belivet (“Carol”)

• Saoirse Ronan as Eilis Lacey (“Brooklyn”)

• Alicia Vikander as Gerda Wegener (“The Danish Girl”)

Best Actor – Comedy

• Christian Bale as Michael Burry (“The Big Short”): If Jordan Belfort, the man made famous in “The Wolf of Wall Street,” had a brain and human decency, he would be Michael Burry. He along with the rest of the cast are the oddballs of Wall Street. Christian Bale is delightfully weird as an obtuse banker in “The Big Short.”
• Steve Carell as Mark Baum (“The Big Short”)

• Matt Damon as Mark Watney (“The Martian”)

• Al Pacino as Danny Collins (“Danny Collins”)

• Mark Ruffalo as Cam Stuart (“Infinitely Polar Bear”)

Best Actress – Comedy

• Jennifer Lawrence as Joy Mangano (“Joy”)

• Melissa McCarthy as Susan Cooper / Carol Jenkins / Penny Morgan (“Spy”)

• Amy Schumer as Amy Townsend (“Trainwreck”)

• Maggie Smith as Miss Mary Shepherd / Margaret Fairchild (“The Lady in the Van”)

• Lily Tomlin as Elle Reid (“Grandma”): Lily Tomlin is such a treat in everything she is in. This small independent film was Tomlin’s moment to shine as the coolest grandmother in cinema. With perfection and an almost criminal sense of humor, Tomlin is the embodiment of a changing dynamic within the American family unit. Though all of the nominees give excellent performances, it is “Grandma” that struck me as a strong female-driven film.

Best Supporting Actor

• Paul Dano as young Brian Wilson (“Love & Mercy”)

• Idris Elba as the Commandant (“Beasts of No Nation”): Haunting and pathetic, Idris Elba’s warlord is a study of male hubris. His need for acceptance by his soldiers and his constant self-affirmation in his own manhood are what drive his brutality, which he equates with honor. Only a skilled actor could precipitate these attributes and Elba is that actor.

• Mark Rylance as Rudolf Abel (“Bridge of Spies”)

• Michael Shannon as Rick Carver (“99 Homes”)

• Sylvester Stallone  as Rocky Balboa (“Creed”)

Best Supporting Actress

• Jane Fonda as Brenda Morel (“Youth”)

• Jennifer Jason Leigh as Daisy Domergue (“The Hateful Eight”)

• Helen Mirren as Hedda Hopper (“Trumbo”)

• Alicia Vikander as Ava (“Ex Machina”)

• Kate Winslet as Joanna Hoffman (“Steve Jobs”): Joanna Hoffman is a ship of sanity in a sea of chaos. She is the foundation of Steve Jobs’s mortality in Danny Boyle’s biopic of the man who gave us the iPhone. Without her, Jobs would be lost, and both know this. Kate Winslet clearly had fun in this role and with that enjoyment came glory.

Best Director

• Todd Haynes (“Carol”)

• Alejandro González Iñárritu (“The Revenant”): Last year’s “Birdman” was just showing off, but his latest directorial effort is a reinvention of the Western genre. Dark and primal, the wilderness has never been portrayed as being so savage. “The Revenant” is an excellent understanding of tradecraft.

• Tom McCarthy (“Spotlight”)

• George Miller (“Mad Max: Fury Road”)

• Ridley Scott (“The Martian”)

Best Screenplay

• Emma Donoghue (“Room”)

• Tom McCarthy and Josh Singer (“Spotlight”)

• Charles Randolph and Adam McKay (“The Big Short”)

• Aaron Sorkin (“Steve Jobs”): Aaron Sorkin shrinks the scope of the life of Steve Jobs to the myths that we have all heard of the man. He claims to have not made up any facts about Jobs, and that is believable; but the emotion and drama that he portrays in his three acts is what most will remember Jobs as.

• Quentin Tarantino (“The Hateful Eight”)

Best Original Score

• “Carol” (Carter Burwell)

• “The Danish Girl” (Alexandre Desplat)

• “The Hateful Eight” (Ennio Morricone)

• “Steve Jobs” (Daniel Pemberton): With a mix of classical compositions and techno-inspired melodies, the score for “Steve Jobs” is the icing on the cake for this excellent film. Each movement is the punctuation to great scenes such as the many confrontations Jobs has with his friends and family.

• “The Revenant” (Ryuichi Sakamoto and Alva Noto)

Best Original Song

• “Love Me like You Do” by Max Martin, Savan Kotecha, Ali Payami, Tove Lo and Ilya Salmanzadeh (“Fifty Shades of Grey”)

• “One Kind of Love” by Brian Wilson and Scott Bennett (“Love & Mercy”)

• “See You Again” by DJ Frank E, Andrew Cedar, Charlie Puth and Wiz Khalifa (“Furious 7”): Though “Writing’s on the Wall”, from another movie in this category, was also a good song, “See You Again” was an attempt at bringing back the nostalgia of watching a “Furious” film with Paul Walker. But at least the attempt created a soulful song.

• “Simple Song # 3” by David Lang (“Youth”)

• “Writing’s on the Wall” by Sam Smith and Jimmy Napes (“Spectre”)

Best Animated Feature Film

• “Anomalisa” (Charlie Kaufman and Duke Johnson)

• “The Good Dinosaur” (Peter Sohn)

• “Inside Out” (Pete Docter): Director Pete Docter needs to clear place on his shelf for a few more statues. The voice cast is magnificent with Amy Poehler rightfully playing the embodiment of joy. In addition to bringing audiences into the mind of an 11-year-old girl, “Inside Out” also brought audiences back to what it was like to watch Pixar at its prime.

• “The Peanuts Movie” (Steve Martino)

• “Shaun the Sheep Movie” (Richard Starzak and Mark Burton)

Best Foreign Language Film

• “The Brand New Testament” (French)

• “The Club” (Spanish)

• “The Fencer” (Estonian and Russian)
• “Mustang” (Turkish)
• “Son of Saul” (Hungarian, Yiddish, German and Polish): Not since “Schindler’s List” has there been such a powerful allegory of the Holocaust. Saul forcibly aids the Nazi’s genocide by burning the bodies of those who were murdered. His conflict to both stay alive and preserve his humanity is what endures.