Oscar 2010: Indicados e Previsões

[Administrator]

Falando em Veneza, as reações a Baaria, novo do Tornatore, foram mornas. Luizz2009-09-02 23:01:58

[pantalaimon]

Marion deve ir como protagonista por "Nine"; só ela e a Cruz podem, ela deve estar melhor que a Cruz. O filme novo da Kidman é do ótimo John Cameron Mitchell, gosto muito de "Hedwig".

 

É impressão minha ou o Moore dificilmente ganha mais alguma coisa, acho.

[guidon]

Luizz, também adoro a Heigl, mas torcida total pra Wilson, ela é demais e tem dupla indicação, a outra é por um filme de TV.  Adami, realmente belo still.  Sobre o Oscar: acho difícil não indicarem a menina de Precious.  Yoh, A Erva do rato estreou bem aqui no Rio, ótimas críticas, principalmente pela fotografia, roteiro e pela atuação da Alessandra Negrini.  E a segunda foto do filme novo de Kidman me agradou bastante.

[Administrator]

Espero que Nathaniel não me processe por fazer isto, mas lá vai - boas notícias para os fãs de Penélope e Marion:

 

On the Nine Test Screenings

 

 

I've been withholding. Not purposefully or vindicatively but all the same...

 

I've heard from two readers who saw Nine (the musical!) at two different test screenings and I thought it was time to share their reactions.

 

The

first to write me (test screener #1) saw what might have been an

earlier cut in the summer. The second (test screener #2), whom I've met

and who looooves musicals,

saw it this past Monday. I didn't ask them to do this but they both

divided their thoughts by actor, so let's take it that way. Neither of

them gave many details about the songs that have been cut and added but

I've been alarmed to read elsewhere about the multiple changes,

including switching characters on key songs and the removal of "Nine".

It's the title song, people! How can you go without? But the movie

doesn't open until November 25th so perhaps they're still tinkering.

 

The lucky bastards disagree on Daniel Day-Lewis in the lead role of the blocked film director

Test Screener #1:

Great in this film. He can sing, he can dance, and he brings out

nuances in Guido Contini I didn't know existed from the stageplay.

Test Screener #2:

DDL is typically good, but it's certainly one of his weaker efforts.

He'll likely be in the hunt since he's the lead and I imagine the film

to go over well with AMPAS, so I'd keep him in the top 10 tier for now,

but I'm sure that

you've been right all along

- he won't be nominated.

But what about the glamourous actresses swirling around him? Both readers jump to Judi Dench next and here they also disagree.

TS #1:

She's terrific. Her "Follies Bergeres" is well sung with style,

presence, wit, and a gleam in her eye. She looks killer in a bodice,

too. It's her sass-mouthed wry Queen Elizabeth from

Shakespeare in Love

blessed with magical sewing fingers and a 1960s bob. Consider her a contender in

Supporting Actress

if the film breaks out in a big way.

TS#2:

Dench is fine but nothing remarkable. I know she has been nominated for

unremarkable work in the past, but her character and screen time are

too limited to warrant a nomination. I'd take her out of

the top 10

, or at least keep her near the bottom.

Split decisions again.

 

Rob Marshall directing two of the best screen actors on the planet --->

 

Both movie mad guys shrug off TFE favorite Nicole Kidman as the visiting movie star Claudia. I knew that the role wouldn't be large having seen both Fellini's masterpiece

and the stage musical it inspired but I always spark to the

possibilities of any Kidman appearance. Hopefully I'll feel differently

when I see the film.

TS #1:

Gets to look pretty in a dress. And not move her forehead.

TS#2:

They

build up to her character's appearance, and once she finally appears,

they give her a boring musical number that's oddly patched together.

It's a small role, and not a great use of her talents.

In the stage play Claudia sings the best song "In a Very Unusual Way" (previous post) but perhaps Kidman has the same problem here that I pointed to when writing about her ballad in Moulin Rouge!

In short, she isn't a born/trained singer and slow emotionally

intricate numbers only come off spectacularly if the performer is a

musical professional. It's the danger of casting for stardom rather

than musical ability though Claudia is a role that requires true A list

mystique so perhaps Kidman was the only choice that would have worked.

 

The rest of the cast? Looks like Kate Hudson will be a polarizing part of Nine.

TS#1:

Hudson

is fantastic in a very limited role. Her one number (new for the film?)

is the absolute highlight. It's slick, stylish, well sung, well

choreographed, and catchy. This early cut of the film used it as the

ending credits song, so I'm assuming it's brand new. I can see a Globe

nod for Hudson (and an Original Song win if it is new), but I think her

character isn't meaty enough to breakthrough elsewhere.

 

No,

Fergie Ferg cannot act to save her life. Rob Marshall actually shot her

solo song around her physical placement in the scene, never coming

close to zooming in on her doing anything other then pouting her lips

and tossing sand in the air.

 

Sophia Loren

is the biggest victim of the changes to the script and score but she's great in the smallest role.

 

TS#2:

The consensus of the people I went with was that Hudson was awful.

Loren doesn't do much. Fergie just has the one scene (the song in the

trailer), but it's quite a scene and she undoubtedly has the best voice

in the film.

In keeping with the other buzz you might have been reading or hearing, Penélope Cruz and Marion Cotillard were both big hits with the test screeners and Oscar nominations might be coming

TS #1:

Curse Cruz for winning the Oscar for

Vicky Cristina Barcelona

.

This is easily her best performance and she steals every single scene

she's in. She has the meatiest role of anyone in the film and milks it

for all its worth. Think Catherine Zeta Jones in

Chicago

- Cruz juices this orange down to the pith and drains it of every

delicious, sexy drop. "A Call From the Vatican" is probably the single

sexiest moment I've ever seen in a filmed musical, even with more

clothes on than I expected. The only reason I wouldn't consider her a

lock in Supporting Actress is her recent win.

 

Marion Cotillard

is the safest bet for a Supporting Actress nomination. With so much of

the music eliminated from the film, Cotillard is the only one to

benefit from clear additional screentime. She gets to show the most

range in her vocals, from soft and vulnerable to raunchy and wild. It's

pure Oscar Bait suffering wife, only with singing and dancing and sexy

costumes.

 

TS#2:

The two

best performances were definitely Cruz and Cotillard. As a Penélope

fanatic, I'd give the edge to her. She KILLS in her musical number and

is quite funny and sexy throughout her entire performance. However, her

musical sequence is the second in the film and the film forgets about

her early on... I wouldn't bet on a nomination.

 

If anyone gets

Oscar-nominated, it's likely to be Marion Cotillard. She has the most

sympathetic role, and she pulls it off. Her first musical number is

fairly low-key but it's generally moving and she pulls off a great

second musical sequence. Ultimately, she's the character you care about

and the one people will likely remember.

The horniest (known) call ever made from the Vatican

Neither of them consider the movie an unqualified success though they both obviously enjoyed it. Some final thoughts:

TS #1:

Rob

Marshall's direction is near-perfection. The difficult integration of

fantasy/reality brought on by Guido's crisis is genius. The problems

mostly come from the screenplay's adaptation choices. What could be a

strong examination of deep emotional issues is whitewashed. For all the

sexuality in the movie, the film has been turned into a sanitized

version of a very engrossing and original musical eliminating any

psychological complexity beyond "my husband doesn't love me" or "I'm

very stressed". All the elements are there that a fan of the show would

know, just not in a recognizable form. It pulls its cues from the

lighter Broadway revival, down to a slightly more optimistic ending in

a single staging decision. The screenplay pulls every punch, reducing

what could be a knock-out climax to a slap on the wrist.

 

TS#2:

I can tell you that it's a very good film that will likely go over very well with the Academy. It's made in the same style as

Chicago

-- the musical numbers are fantasies -- and I think it works. I don't

think it's a GREAT film, but it was entertaining and handsomely made.

So there you have it. Or two of it. Moviegoing is a personal thing,

even when the theater is sold out. Your reaction may well differ and

maybe these two voices won't be 'on consensus' but if they are, Oscar

will bite in several categories (as most expected) and Marion Cotillard

is the one to watch for Oscar... again.

 

 

[MacGruber]

The Road capengando.

 

http://incontention.com/?p=12972

[saulomeri]

Sobre Nine. Desde o anuncio do projeto, eu sempre tive a impressão que Marion e Penélope iriam "roubar" o filme.

[Ronny]

The Road capengando apenas pela crítica do Kris Tapley?

Greenwood, melhore.

 

O filme teve recepçao mista em Veneza sob uma perspectiva curiosa: Quem gostou, gostou muito, como foi o caso do THE INDEPENDENT, do Emanuel Levy, do THE GUARDIAN... E quem nao gostou, reconheceu poucas qualidades, como o VARIETY.

 

Um ame ou odeie??

 

Mas definitivamente um filme ainda por se provar. Veneza ou Telluride não ajudaram mt, não. Uma coisa é certa: Não faltaram elogios para Mortensen, Duvall e Smith-McPhee.

[Administrator]

Não deve ser indicado nas categorias principais. Talvez os atores e só.

[MacGruber]

 

Jonny Greenwood2009-09-03 15:58:49

[MacGruber]

The Road capengando apenas pela crítica do Kris Tapley?

Greenwood' date=' melhore.

 

[/quote']

 

 

Como assim só pela crítica do Tapley (e a do Lodge)? Como vc mesmo falou, a recepção foi meio a meio. Até demais pra um filme que almeja BEST PICTURE. Se isso não for capengar (e o termo logicamente não significa que o filme já está fora do páreo) me diga o que é.

 

Sobre ser "ame ou odeie", até seria se boa parte dos jornalistas não tivessem mostrado apenas indiferença.

Jonny Greenwood2009-09-03 16:09:39

[Beckin]

Como o Ronny disse, muita gente adorou The Road, muitos desgostaram... mas vi elogios bem enaltecidos nas reviews mais favoráveis. Metade acha que o filme fez juz ao livro, a outra metade nem tanto... mas enfim, independente do oscar, esse aí é imperdível. E o ator que faz o filho do Mortensen tá recebendo um monte de elogios (além do próprio Mortensen tbm).

[Administrator]

Por ora, The Road capenga rumo ao Oscar. Mas O Leitor também dividiu a crítica no ano passado. Mas, por sua vez, Road não trata do Holoc... Melhor eu parar por aqui.

 

[saulomeri]

Já o filme do Todd Solondz foi aplaudido. E li comentários especiais sobre a participação de Charlotte Rampling.

[guidon]

Eu torcia tanto pela Kate Hudosn em Nine, adoro ela. guidon2009-09-04 08:46:36

[texer]

Eu acho q a Kate Hudson pode ter chances em Nine, guidon. Muita gente gostou muito do número dela, e a gente sabe q esse tipo de coisa em musicais garantem a vaga de muitos atores, e dizem q das atrizes é a que tem a melhor voz.

Acredito q pelas reações, o q ainda naum é muita coisa, as possibilidades de indicações estão, em ordem, com Marion Cotillard(naum acredito que passe para a categoria atriz), Penélope Cruz, Judi Dench e Kate Hudson. Acho que, infelizmente, a Nicole Kidman e a Sophia Loren ficam fora de qualquer indicação, a não ser é claro de uma possível indicação para o elenco no SAG. A Fergie, me parece q naum tem cenas, só o número Bee Italian, o que é muito, mas naum sei se garantirá por si só sua vaga.

[pantalaimon]

Sim, pela grandiosidade do elenco, apenas a Cruz e a Marion tem mais de uma performance; Fergie, Kidman, Hudson, Loren e parece Dench possuem uma música no filme. Não que seja determinante o fato de apenas uma música não resultar em possível indicação ou boa atuação, mas claro que quem aparece mais tem mais chances. Não conheço a peça, mas sou fã do original de Fellini, e no filme as melhores personagens, realmente, são justamente as interpretadas pela Marion e Cruz.

[Deckard]

 

É uma pena que Nine não resulte, aparentemente, na volta da Nic Kidman as premiações. Ela foi encantadora em Moulin Rouge, belíssima voz!

 

O que resta é torcer por ela em Rabbit Hole, inclusive a segunda imagem do filme que foi postada, me deixou com expectativas boas.

 

Sobre Amelia e Hilary Swank, será que ela emplaca?? Estou achando tudo tão... brega!

 

Deckard2009-09-04 11:04:10

[pantalaimon]

Eu também; apesar de a Swank ser ótima, não sei, acho que foi merecedora do prêmio apenas em "Meninos Não Choram".

[Ginger]

Hoje sai o Trailer de Everybody's Fine, e quem viu o trailer está dizendo que é um dos melhores trailers do ano.

 

Rezando aki pelo De Niro

[Administrator]

Emanuel Levy sobre Mortensen:

 

Viggo Mortensen's Oscar-Caliber Performance in The Road

 

 

< ="http://www.emanuellevy.com/media//the-road-movie-3.jpg" height="184" ="" width="185">

 

Viggo

Mortensen gives one of his most haunting and most emotional

performances in "The Road," the post-apocalyptic tale from the pen of

the great American author, Cormac McCarthy, whose book "No Country for

Old Men" was made into a great Oscar-winning picture by the Coen

brothers. 

 

And

now comes the highly anticipated big screen adaptation of the beloved,

best-selling and Pulitzer Prize-winning novel, "The Road,"

which features Mortensen in arguably the richest, most demanding part

of his long and distinguished career.  It's only September but I think

that Mortensen's work in this tough, relentlessly grim but ultimately

humanistic picture should get him a second Best Actor Oscar nomination.

 

 

[Beckin]

Mais sobre the Road:

 

Oscar talk for Cormac McCarthy’s ‘The Road’

 

Venice Film Festival premiere brings acclaim for Viggo Mortensen and Robert Duvall

 

By Sophie Taylor

FIRST POSTED SEPTEMBER 4, 2009

Good news from the Venice Film Festival for fans of Cormac McCarthy, regarded by many as the finest living writer in the English language. The Australian director John Hillcoat, best known for his videos with fellow Aussie Nick Cave, has made a great movie of McCarthy's Pulitzer Prize-winning 2006 novel The Road, sticking closely to the original which, given the bleakness of the plot, is quite something.

The last McCarthy novel to be filmed - No Country for Old Men - won four Oscars when it was filmed by the Coen brothers in 2007. The talk in Venice after The Road's premiere was that it could do equally well at next year's Academy Awards. Viggo Mortensen as The Man, 12-year-old Kodi Spit-McPhee as The Boy and Hollywood veteran Robert Duvall, barely recognisable in a cameo role, were all picked out for special mention.

The Road tells the story of a father (Mortensen) and son (Spit-McPhee) journeying through post-apocalyptic America. Dressed in rags and pushing their only belongings in a shopping trolley, they are heading for the coast, though they have no idea what awaits them there. They have only a pistol to defend themselves against the few lawless people left on earth.

Hillcoat, who shot the film in rural Pennsylvania and in post-Katrina Louisiana, is also being talked up for an Oscar, though he will have his eyes on the festival's Golden Lion in the short-term. His friend Nick Cave provides the haunting score.

Not surprisingly, while the reviews are mainly excellent, the Hollywood media are not predicting huge business for the film at the shopping malls. "The film is more suitable to critical appreciation than to attracting huge audiences," the Hollywood Reporter says diplomatically.

Screendaily.com reports: "There is so much in this picture, from dread, horror, to suspense, bitterly moving love, extraordinary, Oscar-worthy art direction and a desperate lead performance from Viggo Mortensen which perfectly illustrates the wrenching desperation of parental love. But its hopelessness will make The Road hard going for general audiences." 

FIRST POSTED SEPTEMBER 4, 2009

 

---

 

Do New York Times:

 

http://www.nytimes.com/2009/09/05/arts/05iht-venfest5.html?_r=1

 

This is a menacing, bleak, suspenseful drama shot with an almost monochrome, austere beauty, with impressive performances from both Mr. Mortensen and Smit-McPhee, who bears an uncanny resemblance to Ms. Theron

 

Mais reações positivas:

 

http://www.hollywoodreporter.com/hr/film-reviews/the-road-film-review-1004009191.story

 

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/film_reviews/article6820855.ece

 

http://www.guardian.co.uk/film/2009/sep/03/the-road-adaptation-cormac- mccarthy

Beckin2009-09-04 12:12:40

[Ronny]

The Road capengando apenas pela crítica do Kris Tapley?

Greenwood' date=' melhore.

 

[/quote']

 

 

Como assim só pela crítica do Tapley (e a do Lodge)? Como vc mesmo falou, a recepção foi meio a meio. Até demais pra um filme que almeja BEST PICTURE. Se isso não for capengar (e o termo logicamente não significa que o filme já está fora do páreo) me diga o que é.

 

Sobre ser "ame ou odeie", até seria se boa parte dos jornalistas não tivessem mostrado apenas indiferença.

 

Jonny, pegue as criticas do Hollywood Reporter, The Guardian, Emanuel Levy, The Independent e do Time. Me diga se nao se tratam de rave reviews para The Road.

E nao confunda suas expectativas com as reais. THE ROAD nunca esteve no line-up para Melhor Filme; nao é a prioridade do estudio AT ALL!

 

E eu respeito mt o Todd McCarthy... Mas come on, tudo o que ele critica no filme é se pautando pelo livro. Isso é um equivoco.

 

Pra mim, a recepcao para o filme de Hillcoat nao podia ser melhor.

[Administrator]

Up é realmente tudo o que foi dito, embora não seja o melhor da Pixar (prefiro Ratatouille, WALL-E, Finding Nemo e Monsters Inc.). O filme possui um início à la There Will Be Blood, onde não se ouve diálogos (excetuando-se a Ellie, mas essa escolha possui um objetivo maior, logo não poderia ter sido descartada), só que 50 vezes melhor. Nesse início genial, brilhante, antológico, a Pixar consegue mostrar todo o amor entre o Carl e a Ellie com uma delicadeza incomparável que me fez derramar praticamente um oceano só ali. Lindo, lindo, lindo.

 

(E acho redundante dizer que o filme é um espetáculo visual...)

 

Se há algum erro nesta pérola, este é o vilão. Infelizmente, o Docter e o Peterson não conseguiram sair do lugar-comum ao desenvolvê-lo e ele nunca torna-se interessante. Felizmente, ele não recebe muito espaço.

[Administrator]

Minicríticas do Tapley:

 

“An Education” (****)

Few films are likely to have the refined air of artistry that Lone

Scherfig’s “An Education” offers.  Based on a memoir by Lynn Barber,

the story is, in a nutshell, that of a young girl eager to grow up but

unprepared for the disappointments of adulthood.  But the film is, of

course, so much more than that.

The film is an exploration of the value of innocence more so than

the loss of it.  It is a treatise on the dangers of ignoring the advice

of the wise and the sanctity of the protective, and yet, perhaps in

some way, the necessity of it.  And it is all wonderfully assembled on

the page by Nick Hornby, whose writing crackles and pops throughout,

owing much to a slew of brilliant performances.

Carey Mulligan — you’ve no doubt heard — is at the very top of that

list.  Her work is impeccable, the waft of “acting” nowhere to be

found.  She seems cosmically married to the role of Jenny, infused,

effortlessly performing.  The work is buttressed by Alfred Molina, discussed in this space once already,

who deserves awards recognition for his warm father figure, as well as

Peter Sarsgaard, who finds the right rhythm as a seemingly stable

suitor to Jenny.

“Bright Star” (**)

Jane Campion’s latest is beautifully crafted on a number of levels. 

Janet Patterson’s costume and production design is exquisite, captured

well by Greig Fraser’s soft, modest photography.  The narrative is

carefully constructed by Alexandre de Franceschi, moving at a welcome

pace and creative when it ought to be.  These points would be difficult

to argue.

But while the production is aesthetically pleasing, its impact is

curiously mute.  The emotion of the piece is disconnected, the romance

at the story’s center somewhat difficult to accept given the curiously

empty approach Abbie Cornish has taken to the work.  Ben Wishaw’s

ailing John Keats seems to be without personality, though the

performance is certainly more intriguing than Cornish’s.

The one highlight of the film is Paul Schneider’s Charles Armitage Brown (highlighted last month),

the only character that seems to have layers lurking beneath the

surface.  But the love story surrounding him is maddening for it’s lack

of resonance.  I literally felt nothing when I probably should have

been weeping.

 

 

[MacGruber]

The Road capengando apenas pela crítica do Kris Tapley?

Greenwood' date=' melhore.

 

[/quote']

 

 

Como assim só pela crítica do Tapley (e a do Lodge)? Como vc mesmo falou, a recepção foi meio a meio. Até demais pra um filme que almeja BEST PICTURE. Se isso não for capengar (e o termo logicamente não significa que o filme já está fora do páreo) me diga o que é.

 

Sobre ser "ame ou odeie", até seria se boa parte dos jornalistas não tivessem mostrado apenas indiferença.

 

Jonny, pegue as criticas do Hollywood Reporter, The Guardian, Emanuel Levy, The Independent e do Time. Me diga se nao se tratam de rave reviews para The Road.

E nao confunda suas expectativas com as reais. THE ROAD nunca esteve no line-up para Melhor Filme; nao é a prioridade do estudio AT ALL!

 

 

 

Discordo. Independente do tratamento do estúdio, The Road esteve presente nas previsões de quase todo mundo - especialmente depois do anúncio da adição de 5 vagas em Melhor Filme.