Source: Agencies12 Jan 2016 20:26:18

As the much speculated award function has come to end, all eyes are now on the Oscar trophy which would be a ruby on the crown for many like DiCaprio. What better than a applause would be given to all those artists who gave their best on screen and behind cinema.

Leading man Leonardo DiCaprio won best actor in a drama, while Alejandro G Inarritu won for its direction.

Ridley Scott hit The Martian was named best comedy or musical film, winning a further Globe for star Matt Damon.

Room star Brie Larson was named best actress in a drama, while Jennifer Lawrence won best comedy actress. 
The victory comes just a year after Inarritu lost the best director prize to Richard Linklater, when Inarritu's Birdman faced off with Linklater's Boyhood - though Inarritu went on to win the Oscar. It must also put DiCaprio centre stage for the Oscar that has eluded him throughout his career.

The Revenant

The initial plan was to shoot the entire movie in Alberta, but the weather ended up being too warm that winter. Shot in both Alberta and B.C., the filmmakers had trouble maintaining consistency between shooting locales. “Different clouds or light availability made a huge impact throughout the filming process”, DiCaprio said on Sunday. It’s the result of faith Alejandro G. Iñárritu had on his actors and Di’s excellence in maintain such onus character. Alejandro G. Iñárritu’s visual masterwork is also a thing of beauty; your jaw will drop at the almost surreal scenery.

DiCaprio chances are infinitely better than they have been for any other role he’s played. As described above, DiCaprio really gives his all, and you can tell. An interesting detail about his character is there isn’t much dialogue. It’s all in his looks, his body language and his demeanour. When an actor can carry a presence without uttering many words, then that’s an award-worthy performance.

Tom Hardy’s character, John Fitzgerald, is the bad guy. Hardy (as he’s done with most of his other roles) so eagerly and completely steps into the character he nearly steals the movie from DiCaprio. Nearly! But DiCaprio is all in here, eating bison liver (he’s a vegetarian in real life), basically becoming one with the snow, and in a scene reminiscent of The Empire Strikes Back, sleeps inside an animal carcass. Yes, he did that in real life, too.

Global Calgary meteorologist Jordan Witzel played a key role in making the movie. Witzel was the forecasting consultant on the film, responsible for letting the production team know about optimal weather conditions, locations best for shooting and even specific details like cloud thickness.   Embeded Object

The Martian

In movie The Martian, Watney takes his rover for quite a few spins, and he even has to outfit the vehicle with some unorthodox modifications to help him survive. On Earth today, NASA is working to prepare for every encounter with the Multi-Mission Space Exploration Vehicle (MMSEV). The MMSEV has been used in NASA’s analog mission projects to help solve problems that the agency is aware of and to reveal some that may be hidden. The technologies are developed to be versatile enough to support missions to an asteroid, Mars, its moons and other missions in the future. 

Ion Propulsion- Slow and steady wins the race, and ion propulsion proves it. In “The Martian,” the Ares 3 crew lives aboard the Hermes spacecraft for months as they travel to and from the Red Planet, using ion propulsion as an efficient method of traversing through space for over 280 million miles.

Solar Panels- There is no gas stations on Mars. No power plants. Virtually no wind. When it comes to human missions to the Red Planet, solar energy can get the astronauts far. The Hermes spacecraft in the book uses solar arrays for power, and Mark Watney has to use solar panels in some unconventional ways to survive on Mars.

RTG- For more than four decades, NASA has safely used Radioisotope Thermoelectric Generators (RTGs) to provide electrical power for two dozen space missions, including Apollo missions to the Moon. Spacecraft such as the Mars rover Curiosity and the upcoming Mars 2020 rover use an updated, next-generation model for electrical power. 

Mars Spacesuit- The Martian surface is not very welcoming for humans. The atmosphere is cold and there is barely any breathable air. An astronaut exploring the surface must wear a spacesuit to survive outside of a habitat while collecting samples and maintaining systems.  

Rover- Once humans land on the surface of Mars, they must stay there for more than a year, while the planets move into a position that will minimize the length of their trip home. This allows the astronauts plenty of time to conduct experiments and explore the surrounding area, but they won’t want to be limited to how far they can go on foot. Astronauts will have to use robust, reliable and versatile rovers to travel farther.

Oxygen Generation- Food, water, shelter: three essentials for survival on Earth. But there's a fourth we don't think about much, because it's freely available: oxygen. On Mars, Watney can’t just step outside for a breath of fresh air to survive; he has to carry his own supply of oxygen everywhere he goes. But first he has to make it. In his Hab he uses the “oxygenator,” a system that generates oxygen using the carbon dioxide from the MAV (Mars Ascent Vehicle) fuel generator.

Water Recovery- There are no lakes, river or oceans on the surface of Mars, and sending water from Earth would take more than nine months. Astronauts on Mars must be able to create their own water supply. The Ares 3 crew does not waste a drop on Mars with their water reclaimer, and Watney needs to use his ingenuity to come up with some peculiar ways to stay hydrated and ensure his survival on the Red Planet.

RTG- For more than four decades, NASA has safely used Radioisotope Thermoelectric Generators (RTGs) to provide electrical power for two dozen space missions, including Apollo missions to the Moon. Spacecraft such as the Mars rover Curiosity and the upcoming Mars 2020 rover use an updated, next-generation model for electrical power.  Embeded Object

Inside Out- ‘Why crying is important to laugh longer’

This introduction is whizzed through in an inventive few opening minutes and remarkable for its clarity and simplicity; director Pete Docter has a history of great openings his last film was the Oscar-winning Up -- and this is similarly successful in its set-up. From there we're off on a journey through Joy's mind taking in such delights as Imaginationland, Abstract Thought and the caves of the Subconscious.  

Doctor consulted real psychologists on the story, and it shows Inside Out's dealings with complexity of emotion and behaviour is immensely clever, and rarely misses a beat.  

The script is funny too, ranging from broad slapstick to smarter gags for the adults. But most of all, the film's secret is in its universality, finding delightfully simple gags in the everyday (in a delightful sequence, we discover the reason you can't get that annoyingly catchy tune out of your head). Embeded Object

Room- ‘An adaptation of Emma Donoghue's’

Emma Donoghue's writing is superb alchemy, changing innocence into horror and horror into tenderness. Room is a book to read in one sitting. When it's over you look up: the world looks the same but you are somehow different and that feeling lingers for days. Room is one of the most profoundly affecting books I've read in a long time. Jack moved me greatly. His voice, his story, his innocence, his love for Ma combine to create something very unusual and something very important Room deserves to reach the widest possible audience. I've never read a more heart-burstingly, gut wrenchingly compassionate novel.  

The agony of Donoghue’s book is in how long it takes to piece together the evidence given Jack’s limited capabilities as an interpreter, but here it’s soon clear that Ma and Jack are prisoners. Their only visitor is Old Nick (Sean Bridgers), who’s keeping them captive, and who rapes Ma while Jack sleeps in the closet.

When Old Nick reveals that he’s lost his job, and might also lose his house, Ma, realizing he will probably kill them both rather than let them escape, begins hatching a plan to set Jack free. In the space of a few days, she tries to teach Jack everything about the outside world often a logical and philosophical conundrum as much as a practical one, since all he can see of it is empty sky. Room is unmistakably an allegory for the painful process of growing up, and here it’s rendered in rapid time, with Jack stubbornly resisting the puzzling, threatening barrage of new information, and Ma forced to move past his discomfort. Abrahamson suffuses these scenes with fierce suspense, adding urgency to Ma’s lessons in how to understand the world. Embeded Object

Joy- A toxic brand of lone-wolf feminism

It is here that Lawrence is at once miscast and perfectly cast. As an actor, she’s at least a decade too young to play Joy (as she was at least a decade too young in “American Hustle,” another Russell dramedy exalting entrepreneurial renegades), and was born the same year that the real Mangano first developed the Miracle Mop in 1990.  

That’s right, 1990: so she was a tot through the economic salad days of the Clinton era, and barely old enough to vote when the market tanked in 2008. But combine her girl-next-door ebullience with a low-octave chest voice and seen-worse glint in her deep-set eyes, and not many viewers care—or even notice how young she truly is.  

Lawrence is among few her age who can carry both a box-office smash and prestige film through persona alone, and it is for this exact reason that it’s harder to see past Joy’s girl-power appeal to its bottom-line conservatism. Embeded Object