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Oscars 2016: Snubs include 'Carol,' Michael Keaton in 'Spotlight'

This year's Oscar nominations have left a lot to smile about, from the love given to "Mad Max" and "45 Years" star Charlotte Rampling to Sylvester Stallone looking at a real chance to finally earn an acting win for playing Rocky Balboa.

But there were some notable snubs.

Scroll through to see who didn't make the nominations list.

Best supporting actor: Michael Keaton in 'Spotlight'

Michael Keaton offered perhaps the most meaningful performance
Photo Credit: Open Road Films

Michael Keaton offered perhaps the most meaningful performance in "Spotlight," as Boston Globe editor Walter Robinson, a lifelong Catholic and Beantown native forced to reconsider a lot of closely held beliefs while investing the sexual abuse cover-up in the local archdiocese.

Best picture: 'Carol'

Photo Credit: The Weinstein Company / Wilson Webb

"Carol" is one of the year's best movies, a tender love story of the highest order that makes beautiful art out of repressed emotions. It's a lot better than a lot of the best picture nominees, and if stars Cate Blanchett and Rooney Mara could earn nominations, it should have as well.

Best director: Ridley Scott for 'The Martian'

Some have seen
Photo Credit: 20th Century Fox

Some have seen "The Martian," which earned plenty of nominations including best picture and best actor, as a frontrunner, so it's shocking to see Hollywood icon Ridley Scott left off the best director list.

Best actor: Idris Elba in 'Beasts of No Nation'

Idris Elba is one of the best actors
Photo Credit: Netflix

Idris Elba is one of the best actors around and he earned an incredible series of accolades for his work as an African warlord in "Beasts of No Nation." His snubbing also speaks to the continuing diversity problem that Hollywood can't seem to shake.

Best adapted screenplay: Aaron Sorkin for 'Steve Jobs'

Aaron Sorkin is a brilliant and distinctive writer,
Photo Credit: TMS

Aaron Sorkin is a brilliant and distinctive writer, one of the few auteurs in his business. "Steve Jobs" should really have been titled "Aaron Sorkin's Steve Jobs," as its entire identity is utterly defined by the screenwriter's complex dialogue, with its fiery staccato patterns. His snubbing is inexplicable.

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