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Oscar 2010: Indicados e Previsões


MacGruber
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Como fã do cinema de Scorsese, estou ansioso para assistir. E posso dizer que a estreia desse filme dá a largada oficial para o Oscar 2010. Além de "Shutter Island" (ou "Paciente 67" aqui no Brasil), dia 2 de outubro é a estreia lá nos EUA também de "A Serious Man", dos irmãos Coen, e "Capitalism: A Love Story", de Michael Moore. Só a partir dessa data é que eu começo a fazer minhas apostas...

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he Tree of Life lights up for Christmas

Author: Ryan Adams

17

Aug

 

 

 

 

Behold, Craig Kennedy at Living in Cinema announces to us glad tidings of great joy:

noticed in the print edition of Entertainment Weekly’s fall preview

that Terrence Malick’s Tree of Life starring Brad Pitt is opening

December 25th.

We still know precious little about this project, and I’m fine with that. I ran this insider anecdote from a someone who made a very special connection with Brad Pitt on the set last October.

 

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Só vou acreditar nessa data de lançamento quando acontecer mesmo. O Malick geralmente demora bastante no processo de pós-produção, espero que não fiquem apressando.

 

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Esses cartazes de Amélia já são épicos 06

Carey Mulligan lá em cima tá de apaixonar 05

Beckin2009-08-17 13:15:38

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rsrsrsrsrrsrs

Pois é, do jeito q anda, além do filme ter sido elogiado por todos os críticos de lá, todos mencionam Renée de maneira entusiasmada.

E como eu duvido q a Academia preencha toda a categoria com novatas como Carey Mullighan, a Sibide, Saoirse e Abbie, Renée é um nome a ser pensado se o filme continuar bem.

 

 
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Acabei de chegar do cinema, fui ver Drag Me To Hell (legal demais! tomaria uma cerveja com o Sam Raimi hoje) e um dos trailers que passaram antes do filme foi de um terror/suspense com a Renée Zellweger e coincidentemente comentei com o amigo que estava comigo como alguém poderia me irritar tanto...e vem mais! 09

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‘District 9’ receives most Academy applause in years

The unexpected fiscal and critical success of “District 9” has stirred the proper awards talk in the right circles.  The film looks to be pretty stiff competition in the nomination races for sound editing, sound mixing and visual effects, perhaps even film editing.  But given the mood of a recent Academy screening here in Los Angeles, as conveyed by Variety’s Peter Bart, one might want to consider the film’s reach elsewhere.

Applause is a difficult thing to understand in circumstances like this.  Generally, a big ovation at the end of, say, a well-attended press or industry screening, can be chalked up to ever-manipulative publicists doing their part to raise the roof.  But at a screening such as the one this weekend at the Samuel Goldwyn Theater, a screening meant specifically for Academy members, the claps take on a different meaning.  I have a friend, AMPAS member, who always says you can place a smart bet on a film’s Oscar chances across the board based on the way applause ebbs and flows during the closing credits.

If that’s the case, Sony might have stumbled onto a real live Oscar horse for the season.  Because the response was uncharacteristically enthusiastic for the sci-fi summer closer.

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