A moment after the upcoming Oscars nominees were announced, the big losers of the ceremonial season could already be counted on: the movies that hoped to get high but came out empty-handed

• "Cuts"

• "Richard Jewell"

• "My name is Dolmate"

• "Unpolished diamond"

• "Honey Boy"

A moment after the Oscar nominees were announced, the films aimed at screwing up high during the ceremonial season could be considered, but found themselves out of the picture.

"Cuts"
Director: Tom Hopper
The film adaptation of the successful Broadway musical turned out to be a huge flop to be remembered as such for generations. The film has been in development for at least four years at Universal Studios. These were hoping to copy Andrew Lloyd Webber's musical success to the big screen. But already after the first trailer release this summer, the inscription seemed to be on the wall. The harsh reactions to the trailer caused changes to the film until the 90th minute and beyond: a revised version was sent to the cinemas two days after the film had already aired. Critics slumped, audiences despised the looks of esteemed actors such as Dime Judy Dench and Idris Alba in cat suits, computer processing, and one Taylor Swift who hoped her first film appearance would make headlines - badly disappointed. Add to that an estimated $ 100 million loss to studios, and you have a resounding failure.

"Richard Jewell"
Director: Clint Eastwood
Five years after the great success of "American Sniper" starring Bradley Cooper, one can cautiously say that Eastwood, just before her 90th birthday, is starting to lose its charm. His latest films - "Sally: Miracle on the Hudson," "15:17 to Paris" and "The Separation" - failed one by one. His new movie, "Richard Jewell," is about a conspiracy that tried to stitch American authorities following the attack on the Olympic Park during the 1996 Olympics in Atlanta. This movie seemed to bring Eastwood back to prominence during the ceremonial season, but it didn't. Critics' initial enthusiasm waned quickly, Eastwood underestimated the interviews and the movie disappeared from Oscar bookmakers. The only consolation is actress Kathy Bates who won an Oscar nomination in the sub-category.

"My name is Dolmate"
Director: Craig Brewer
Shoemaker can take comfort in being in good company, along with comedian Eddie Murphy, who, like him, broke into the Saturday Night Live skit show a decade before. Murphy made his cinematic comeback this year in the comic-biography "Call Me Dolmate," in which he played the late black entertainer Rudy Ray Moore. Moore, who was known by his stage name "Dolmite," became famous on the stand-up stages and in Type B films in the 1970s. Murphy was lauded for appearing, but failed to rank among the nominees in the lead actor category, which this year is considered to be particularly tight and competitive. The movie was one of Netflix's bets to get high during the ceremonial season, but was disappointing.

"Unpolished diamond"
Directors: Josh and Benny Safdie
Adam Sandler in the role of a Jewish-American diamond dealer (but what) with a sick gambling addiction and underworld addiction, and guest appearances by basketball player Kevin Garnett and musician De Wickend - were to play in the favor of the Safdie brothers who aspired to screw up with their favorite crime comedy this season. Some were betting that Sandler would receive an Oscar first nomination for the role, but as the popular comedian wrote in his Instagram account the other day, "Bad news: Sandman received no love from the academy," and immediately added "Good news: Sandman can stop wearing suits" . Sandler even congratulated Kathy Bates, who played his mother in the 1998 movie "The Water Boy," for her Oscar nomination.

"Honey Boy"
Director: Alma Harel
The Oscar disappointed also has an Israeli angle: the film by actor Xia Le Baf, which he wrote about his life, in which he portrays his father, who directed Israeli actress Alma Harel. The film premiered a year ago at the Sundance Festival, and was marked as one of the standout contestants for the current ceremonial season. The momentum may have been too early and played to the detriment of the film, but it eventually remained in the shadow of the films in question from the other more recent festivals. At the weekend, Harel published an opinion column on Entertainment Weekly magazine, referring to the large amount of money spent on campaigns designed to run films during the ceremonial season. She also wrote about the misrepresentation of female directors and creators from disadvantaged ethnic groups among the ceremonies during the ceremonial season and suggested splitting the staging category based on gender, similar to the acting categories.

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