MERI BRASIL
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Posts posted by MERI BRASIL
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Realmente foram surpreendentes essas indicações ao Globo de Ouro. O único problema é que ele poderia afunilar a disputa pelo Oscar. O que não fez, só fez deixar a situação de Brokeback Mountain mais confortável.
E convenhamos, indicar Jonnhy Depp por A Fantástica Fábrioca de Chocolates? Pra mim esta foi uma das piores, se não a pior atuação dele que vi.
Quando começam a ser anunciados os indicados dos sindicatos (PGA, DGA, SAG)?
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Filme indendente que fez muito sucesso no Festival de Sudance este ano. Dirigido por Noah Baumbach, com Laura Linney e Jeff Daniels no elenco. Dizem ser um filme parecido com Kramer x Kramer.
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Há mas esse Alguém Tem que ceder é muito ruim (mas tem os ótimos Jack Nicholson e Diane Keaton) e ainda tem o pior Do que as mulheres gostam.
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Olhem essa:
"Ledger e Gyllenhaal tornam fisicamente palpável essa história de amor angustiado. Ledger desaparece de maneira mágica e misteriosa sob a pele de seu personagem flexível e sinuoso. É um grande desempenho cinematográfico, tão bom quanto o melhor de Marlon Brando e Sean Penn.
A dor e a decepção sentidas por Jack, que é mais delicado e mais assumido, registra-se constantemente nos olhos tristes e expectantes de Gyllenhaal, que parecem dólares de prata." (grifado)...
Este é um parágrafo da crítica do The New York Times, assinada por Stephen Holden, do filme Brokeback Mountain.
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Também creio que Mallick pode até ser indicado ao Oscar. Mas a vitória é dificílimo! Ainda aposto em Ang Lee e Steven Spielberg.
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Esse Romane e Cigarretes tá bem mal de crítica né? Só tem 20% de críticas positivas no RT (embora tenham pouquíssimas críticas ainda).
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Já a crítica de Novo Mundo não foi muito positiva não.
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E tem outra, muitíssimo positiva, neste link:
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A crítica foi assinada por Roger Friedman, no site da Foxnews.
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Mais uma crítica de Munique:
Spielberg's 'Munich' Is Best Movie of 2005
I don't know which is more amazing: that Steven Spielberg managed to make the best movie of the year in just four months, or that it's his second huge film of 2005.
Either way, "Munich" is a poignant political masterpiece that will no doubt be very controversial.
It's the best movie of 2005, coming in at the last minute to best other terrific entries, including "Walk the Line," "Match Point," "Capote," "Mrs. Henderson Presents," "Good Night, and Good Luck," "A History of Violence" and even "Memoirs of a Geisha."
"Munich" is "inspired by real events," those being the 1972 murders of the Israeli wrestling team in Munich during the Olympics and the fallout that followed.
The filmmaker says "inspired by" and I will take him at his word. There is not going to be an anti-"Munich" campaign in which factual details are matched up to the movie's sequences. This is not "A Beautiful Massacre."
It's certainly mind-blowing, in many ways, that Spielberg made this movie at all.
He released his popcorn movie of the year, "War of the Worlds," in June. He didn't start work on "Munich" until July 15.
The final scene was shot, I believe, around Sept. 22 in New York, with Geoffrey Rush and Eric Bana. That's not much turnaround time.
And yet, as far as I can tell, there are no huge mistakes in "Munich." Even the music is from 1972 — Bill Withers' "Ain't No Sunshine" and Al Green's "Let's Stay Together" are from that year. The movie's look, from the sets, props, costumes and hairstyles to Janusz Kaminski's tinted cinematography, is also vintage.
Spielberg, in fact, seems like he's taken a page out of Steven Soderbergh and George Clooney's playbook. He's outdone "Traffic" and "Syriana" at the same time.
If it weren't based on a historic tragedy, you would say that "Munich" was a better version of the "Mission: Impossible" movies. It's hard to put the facts aside, but if you do, "Munich" is very good entertainment.
Bana — who certainly should be nominated for Best Actor — is the convincing and heroic lead. He plays Avner, a Mossad officer chosen by Israeli intelligence to lead an elite squad of agents whose mission is to kill the Palestinian terrorists who murdered the Olympic team.
Bana is enlisted by Geoffrey Rush, and then picks a team played by Daniel Craig (the new James Bond, in a surprisingly small role), Ciarah Hinds, Mathieu Kassovitz and Hanns Zischler.
They are all very good, especially Hinds, but there are two standout performances by Mathieu Amalric and Michael Lonsdale as a French son and father at the center of international intrigue. I don't know if either of them are on screen enough, but they might each qualify for supporting-actor nods.
Bana, whose credits include the praised "Chopper" and the reviled "Troy," not to mention a stint as Ang Lee's "Hulk," vaults to stardom in "Munich," whether he likes it or not.
In a complicated movie full of disarming violence and philosophical questions about retribution, Bana's Avner is a guiding light. He is Spielberg's most clearly drawn adult male hero since Indiana Jones — and that includes "E.T."'s Elliott, Oskar Schindler and Bruce, the shark from "Jaws."
In many ways, I felt like Spielberg had been working his way up to Avner in his last few central characters: Tom Hanks in "The Terminal," Leonardo DiCaprio in "Catch Me If You Can" and Tom Cruise in "War of the Worlds."
There will be plenty of debate over whether Spielberg favored the Israelis or demonized the Palestinians in this movie. But the terrific screenplay by Tony Kushner and Eric Roth goes a long way to solve these problems.
The Israelis are shown as conflicted by their task; the Palestinians are made multi-dimensional through their own explanation of what went on. Spielberg doesn't attempt to address the entire Middle East conflict, just to deal with this moment in 1972.
And there are the trademark Spielbergian touches, too: Avner often stares longingly into a kitchen store window, where all the appliances are pristine and life is perfect. It's where he meets Louis (Amalric) to get information, but you know the whole time he's thinking of his beautiful wife and newborn baby.
The 1972 kitchens — avocado-colored dishwashers, etc — make the perfect antidote to the bloody killing going on all around him.
"Munich" is for real. It joins "Schindler's List," "Saving Private Ryan," "Amistad" and "Close Encounters of the Third Kind" on Spielberg's "serious" film list.
The 2005 Oscars are all his for the taking.
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Esta parece ser a 1ª crítica de Munich. Assinada por David Poland.
SPEAKING OF OSCAR, Munich is the hot buzz title of this year. And the truth is, the film deserves a second viewing before I really settle in on my opinion. More so, it needs more than the couple of hours it's been since I saw the movie. But here goes a first impression…
The title of this film should have remained "Vengeance," because that really is what the film is about. From all sides of the experience, how does the pursuit, achievement and the reflection upon vengeance affect those involved?
Fears from pro-Israel folks are completely unfounded, though undoubtedly, someone will find some reason to complain. That someone will be a braying jackass. There is one speech from a Palestinian about how he perceives the conflict with Israel, but it is really about his perception and not a direct attack on Israel, even if he believes in the end of Israel. Moreover, there is a lot of Jew love in this movie. The discussion of honor being inherent to the Jewish religion is repeated a few times.
But most importantly, the film really isn't so much about Munich. The murders at the Olympics are the match that lights the fire. But once the team of assassins gets together, they are doing a job, person by person, and the morals and lessons of the film are about something greater than the one tragedy. Bana's Avner is through the looking glass, endlessly surprised by everything he doesn't really know or understand and desperately trying to figure it all out.
As with Kong, it's way too early to be discussing too many details of the storyline. But I will say this much…
There isn't a bad performance in the movie. Bana is a standout, and really holds back until the third act, which is when he starts reflecting and dealing with his actions. That's the act that will get him the Oscar nomination. Geoffrey Rush is perfect in his role as a government handler, though he probably doesn't have enough big speeches to get more than love and admiration. Daniel Craig, Hanns Zichler, Cieran Hinds, and Mattheiu Kassovitz are all tremendous in support of Bana. None of the other team members probably have enough of a role to score an Awards nomination… maybe Craig.
But Michael Lonsdale is the home run supporting performance here, though it is a near-cameo. The delicious irony of the man who chased The Jackal more than 30 years ago still being in and around the spy game is wonderful. (No, it's not part of the movie... but Spielberg is more than movie savvy enough to have intended the connection.) But more so, Lonsdale scores with every line he reads. It reminds me more than a little of the well-loved cameo by Lois Smith in Minority Report.
Janusz Kaminski does his usual brilliant understated job with the camera and lights here, delivering the 70s with aplomb. Few will really see how sophisticated his work is here. But it is a treat. It is the least Spielberg of Spielberg movies, so no rack focus… no big camera moves. Just tight and clear work from start to finish… you never see the seams.
Also unSpielberg-like is the amount of sex in the film. Most of it is between husband and wife. But it can be pretty untense. And Marie-Josee Croze is more than an eyeful in her brief appearance.
Really, much like Match Point and Woody Allen, you would not know this was a Steven Spielberg movie if you didn't see his name on it. He really gives up his style crutches for the cleanest telling of this story. And as a result, it really has the feeling of early 70s film, particularly The Conversation, The Day of the Jackal, and even a bit of The Godfather.
For me, the theme of this film is the dehumanizing nature of violence over time. No matter how well founded - in your mind or in reality - the "right" to kill is, in order to maintain focus on the effort, one must dehumanize both their target and themselves. There are other big issues on the table, such as being inevitably revisited by your sins, the question of whether violence can ever improve a political or moral situation, and whether the politics of governments can ever clear enough to be trusted. But much like The Thin Red Line, Munich speaks to the need to subsume your humanity in order to do your duty when your duty calls for more than humane action.
And maybe that is a controversial idea. It will be interesting to see how people interpret the last lines of the film… and even more so, the last shot which includes the World Trade Center towers in a blurry, but perfectly visible background. (Have I mentioned before that The New World ends with the acorn not falling far from the tree… literally?)
Munich is not quite, at least on first blush, the unstoppable Oscar powerhouse that I first thought it might be. Spielberg has given up too many of his manipulative tricks for that to be the case here. But it is still the likely winner of this year's Best Picture Oscar, in my opinion. It is serious. It is excellent. And it is about something important beyond its own storytelling parameters. Brokeback Mountain will have its supporters, but I don't see it overcoming this film, which speaks to bigger issues, though the issues in Brokeback are extremely important to its constituency.
I am really interested to see how this movie sits with me in the days to come. I suspect that it will open up further. I hope to see it again soon and to connect both to its receiving simplicity and its depth of emotion and insights.
More on both films in the weeks to come...
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Tem uma reportagem sobre Munich na revista Time.
O link é o seguinte:
http://www.time.com/time/magazine/article/0,9171,1137620,00. html
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O Viggo está muito bem. Mas eu acho que a Bello acaba por ofuscá-lo. Espero que ela seja indicada' date=' mas não posso dizer que será um grande erro se não for, porquê ainda não vi as concorrentes. [/quote']
Também concordo que Bello praticamente roubou a cena no filme. O trabalho de Viggo ns primeiros filmes dele que vi (Psicose
e Um Crime Perfeito) me decepcionaram. Achava-o canastrão demais. No entanto ele me surpreendeu na trilogia SDA, achei-o mais seguro. Até simpatizei pelo seu trabalho. Só que surpresa maior tive neste Marcas da Violência, em que ele realmente tem "o papel" de sua carreira. No entanto, ainda o acho um pouco limitado. Pra mim, ficou claríssimo que Maria Bello e o ator que interpreta o filho dele (não sei o nome) estavam mais naturais. Assim não acho que ele mereça ser indicado ao Oscar. Pra mim Russell Crowe em Cinderella Man (que é um filme medíocre, mas Crowe faz um bom trabalho) e, especialmente Ralph Fiennes (maravilhoso em O Jardineiro Fiel) merecem mais a indicação. É lógico que os principais cotados ainda não estrearem aki e eu não vi ainda. -
É por esse motivo que eu acho que entra alguma superprodução este ano. Ano passado a única superprodução foi O Aviador (custou 115mi), e arrecadou pouco menos que isso.
Por isso, começo a apostar em King Kong, se for um grande filme (e olha que isso não é difícil).
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E acabei de assistir a Marcas da Violência
Q filmaço' date=' espetácular...pode não ser o melhor do Croenenberg, mas deve ser o mais linear pelo menos
Infelizmente o Viggo Mortensen não tem uma atuação tão boa a ponto de colocá-lo entre os indicados, então acho q o filme deve pelo menos ser indicado a diretor, atriz coadjuvante (Bello) e roteiro adaptado, e talvez algumas técnicas.
[/quote']Realmente é um ótimo filme. E Maria Bello merece uma indicação de coadjuvante.
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E Brokeback Mountain está cada vez mais forte. Daqui a pouco' date=' vai ser considerado o favorito para o Oscar. Aguardem pra ver.
[/quote']
E já não é?Eu acho que é! Se fosse apostar meu dinheirinho, ia nele!
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Concordo com Saulomeri, creio que apenas Reese e Judi Dench possam ser consideradas como garantidas. Depois destas boto minhas fichas em Keira e Felicity Huffman, como quase certas. A ultima vaga é que Charlize Theron pode pegar, apesar de hoje estar em baixa.
Eu ficaria bastante satisfeito se Joan Allen levasse esta ultima vaga, pois seu trabalho é brilhante.
Também estou ansioso pela estreia de King Kong. Aí sim pode surgir "a concorrente" de Reese. Aí vai ser o adeus de Theron.
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Indicados ao Golden Satellite Awards:
10TH ANNIVERSARY SATELLITE AWARDS
DECEMBER 17, 2005Motion Picture, Drama
A History of Violence, New line
Capote, Sony
Brokeback Mountain, Focus Features
Cinderella Man, Universal
Memoirs of a Geisha, Sony
The War Within, Magnola PicturesMotion Picture, Comedy or Musical
Rent, Sony
Shopgirl, Touchstone
Hustle & Flow, Paramount Classics
Happy Endings, Lions Gate
Walk the Line, Fox
Kung Fu Hustle, SonyBest Actress, Drama
Charlize Theron, North Country (Warner Bros.)
Julianne Moore, The Prize Winner of Defiance , Ohio (Dreamworks)
Robin Wright Penn, Nine Lives (Magnolia Pictures)
Ziyi Zhang, Memoirs of a Geisha (Sony)
Felicity Huffman, Transamerica (IFC Films/the Weinstein Company)
Toni Collette, In Her Shoes (fox)Best Actor, Drama
Philip Seymour Hoffman Capote (Sony)
David Strathairn Good Night, and good Luck. (Warner Bros.)
Jake Gyllenhaal Jarhead (Universal)
Tommy Lee Jones the three burials of Melquiades Estrada (Sony)
Heath Ledger Brokeback Mountain (focus features)
Viggo Mortensen A History of violence (new line)Best Actress, Comedy or Musical
Judi Dench, Mrs. Henderson Presents (Weinsteins)
Joan Allen, The upside of Anger (New Line)
Claire Danes, Shopgirl (touchstone)
Reese Witherspoon, Walk the Line (fox)
Joan Plowright, Mrs. Palfrey at the Claremont (Cineville/Pictures ent.)
Keira Knightley, Pride & Prejudice (Universal)Actor, Comedy or Musical
Terrence Howard, Hustle & Flow (paramount classics)
Bill Murray, Broken Flowers (Focus Features)
Kevin Costner, The Upside of Anger (New Line)
Joaquin Phoenix, Walk the Line (fox)
Robert Downey jr., Kiss kiss Bang Bang (Warner Bros.)
Cillian Murphy, Breakfast on Pluto (Sony Pictures Classics)Actress in a Supporting Role, Drama
Frances Mcdormand, North Country (Warner Bros.)
Laura Linney, The Squid and the Whale, (Samuel Goldwyn)
Maria Bello, A History of Violence (New Line)
Gong Li, Memoirs of a Geisha (Sony)
Shirley MacLaine, In Her Shoes (Fox)
Amy Adams, Junebug (sony pictures classics)Actor in a Supporting Role, Drama
Mickey Rourke, Sin City (Miramax)
Jake Gyllenhaal, Jarhead (Universal)
Edward Norton, Kingdom of Heaven (Fox)
Peter Sarsgaard, Jarhead (Universal)
Chris Cooper, Capote (Sony)
Danny Huston, The Constant Gardener (Focus Features)Actress in a Supporting Role, Comedy or Musical
Qiu Yuen, Kung Fu Hustle (Sony)
America Ferrera, The Sisterhood of the Traveling Pants(Warner Bros.)
Michelle Monaghan, Kiss Kiss Bang Bang (Warner Bros.)
Rachel Macadams, The Family Stone (Fox)
Diane Keaton, The Family Stone (Fox)
Rosario Dawson, Rent (Sony Pictures)Actor in a Supporting Role, Comedy or Musical
Tom Arnold, Happy Endings (Lions Gate Films)
Steve Coogan, Happy Endings (Lions Gate Films)
Jason Schwartzman, Shopgirl (touchstone)
Val Kilmer, Kiss Kiss Bang Bang (warner bros.)
Craig T. Nelson, The Family Stone (fox)
Corbin Bernsen, Kiss Kiss Bang Bang (Warner Bros.)Motion Picture, Foreign Film
Walk On Water (Samuel Goldwyn), Israel
Innocent Voices (slowhand cinema), mexico
Lila Says (Samuel Goldwyn), France
Mother of Mine (Nordisk Film Theatrical), Finland
2046 (Sony Pictures Classics), China
Turtles Can Fly (Sony Pictures Classics), IranMotion Picture, Animated or Mixed Media
Howl's Moving Castle (Buena Vista Pictures)
The Corpse Bride (Warner bros.)
Wallace & Gromit: The Curse of the Were-Rabbit (Dreamworks)
Chicken Little (Buena Vista Pictures)
Chronicals of Narnia: the Lion, the Witch and the Wardrobe (Buena Vista Pictures)Documentary
March of the Penguins (Warner Independent Pictures)
Mad Hot Ballroom (Paramount classics)
Murder ball (MTV Films)
New York Doll (First Independent Pictures)
Favela Rising (a Think Film/HBO)
Enron, the Smartest guys in the room magnolia picturesDirector
Ang Lee Brokeback Mountain (Focus Features)
George Clooney, Good Night, and Good Luck (Warner Bros.)
James Mangold, Walk the Line (Fox)
Chris Columbus, Rent (Sony Pictures)
Bennet Miller, Capote (Sony)
Rob Marshall, Memoirs of a Geisha (Sony)Screenplay, Original
Don Roos, Happy Endings (Lions Gate Films)
Noah Baumbach, The Squid and the Whale (Sony Pictures)
George Clooney, Grant Heslov, Good Night, and Good Luck. (Warner Bros.)
Rodrigo Garcia, Nine Lives (Magnolia Pictures)
A yad Akhtar, Joseph Castelo, Tom Glynn, The War Within (Magnolia Pictures)
Paul haggis, Bobby Moresco, Crash (Lions Gate Films)Screenplay, Adapted
Larry McMurtry/ Diana Ossana, Brokeback Mountain (Focus Features)
D an Futterman, Capote (Sony)
Robin Swicord Memoirs of a Geisha (Sony)
William Broyles Jr., Jarhead (Universal)
Steve Martin, Shopgirl (Touchstone)
Gil Dennis, James Mangold, Walk the Line (Fox)Original Score
Alberto Iglesias, The Constant Gardner
John Williams, Memoirs of a Geisha
Danny Elfman, The Corpse Bride
Harry Gregson-Williams, Kingdom of Heaven
Robert Rodriquez, Sin City
Gustavo Santaolalla, Brokeback MountainOriginal Song
"A Love that Will Never Grow Old"/Gustavo Santaolalla, Bernie Taupin Brokeback Mountain
"In the Deep"/Bird York Crash
"broken"/Robert Downey Jr., Mark Hudson, Kiss Kiss Bang Bang
"Hustler's Ambition"/Curtis Jackson, Brian Hughes & Frankie Beverly, Get Rich or Die Tryin'
"Magic Works"/Jarvis Cocker, Harry Potter and the Goblet of FireCinematography
Robert Rodriguez, Sin City (Miramax)
Philippe Rousselot, Charlie and the Chocolate Factory (Warner Bros.)
Robert Elswit, Memoirs of a Geisha (Sony)
Cesar Charlone, the Constant Gardener (Focus Features)
Hang-Sang Poon, Kung Fu Hustle (Sony Picture Classics)
Christopher Doyle, 2046 (Sony Pictures Classics)Visual Effects
Robert Rodriguez, Sin City (Miramax)
Frankie Chung, Kung Fu Hustle (Sony Pictures Classics)
Tom Wood, Kingdom of Heaven (Fox)
John Knoll, Roger Guyett, Rob Coleman, Brian Gernand, Star Wars (Lucas Film/Fox)
Dennis Muren, Pablo Helman, Randal Dutra, Daniel Sudick, War of the Worlds (Dreamworks)Film Editing
Robert Rodriguez, Sin City (Miramax)
Angie Lam Kung, Fu Hustle (Sony Picture Classics)
W alter Murch, Jarhead (Universal)
Michael Kahn, War of the Worlds (Dreamworks)
Stephen Mirrione, Good Night, and Good Luck. (Warner Bros.)
Geraldine Peroni, David Tichenor Brokeback Mountain (Focus Features)Sound (mixing & editing)
John Pritchett, Sergio Reyes, Robert Rodriguez, Paula Fairfield - Sin City (miramax)
William Jacobs, Carla Murray, Tom Myers, Christopher Scarabosio, Andy Nelson, Paul "Salty" Brincat - Star Wars (Lucas Film/Fox)
Ben Burt, Matthew Wood, Paul Pirola - Kung Fu Hustle (Sony pictures classics)
Michael Barry, Martin Czembor, Ludovic Henault, Robert Hein: The White Countess (Sony Pictures Classics)
Rob Cavallo, Sally Boldt - Rent (sony)Art Direction & Production Design
Jeanette Scott, David Hack - Sin City (Miramax)
John Myhre - Memoirs of a Geisha (Sony)
Arthur Max - Kingdom of Heaven (Fox)
Jim Bissell - Good Night, and Good luck. (Warner Bros.)
Gavin Bocquet, Richard Roberts - Star Wars (Lucas Film/Fox)
Luigi Marchione, Vlad Vieru - Modigliani (ifg)Costume Design
Colleen Atwood - Memoirs of a Geisha (Sony)
Jacqueline Durran - Pride & Prejudice (Universal)
John Bright - The White Countess (Sony Pictures Classics)
Pam Downe Modigliani (Ifg)
Janty Yates Kingdom of Heaven (Fox)
Jany Temime - Harry Potter and the Goblet of Fire (Warner Bros. -
Saíram os vencedores do BIFA: O Jardineiro Fiel levou os prêmios de Filme, Ator e Atriz.
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Realmente Dado tem razão, essa estratégia de Spielberg é ótima. Esse suspense que ele faz é pra "enganar os bestas". Ele já está fazendo marketing! Tomara que ele tenha um excelente produto em mãos.
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Tá bom...tá bom...ela tá uma graça nessas fotos...
Tá melhorando hein Cavalca...
Não. Prefiro as minhas empregadinhas...
Esse figurino dela tá meio equivocado. Mas quando foi que ela acertou mesmo?
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Parabéns Guidon!
Tomara que um dia a Academia lhe presentei. Pois este ano, só aposto mesmo no filme e no diretor que você apontou.
MERI BRASIL38680.5909953704 -
Dado, apesar de acreditar na exisência da tal trindade Ldger/Phoenix/Hoffman, tambem creio que, a dias de hoje, a briga direta pela vitória deve ser entre Heath Ledger e Philip Seymour Hoffman, é claro que com este um pouco na frente.
No entanto, tudo pode mudar ainda. A essa época do ano passado não se tinha certeza da indicação de Hilary Swank. E sabem no que deu! Por isso creio que muita coisa pode mudar. Estou de olho mesmo é em Eric Bana, Tommy Lee Jones e Ralph Fiennes, que pra mim sendo indicados são cotáveis a vitória.
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Estava dando uma olhada no Rottentomatoes e verifiquei uma coisa: The Libertine não anda mesmo fazendo sucesso entre a crítica americana, pode ser que Jonnhy Depp esteja se afastando cada dia mais da disputa.
Por isso, depois da trindade Ledger/Phoenix/Hoffman creio que Starthairn, Bana, Tommy Lee Jones e Fiennes estejam brigando pelas duas ultimas vagas.
Oscar 2006
in Oscar
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