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Oscar 2010: Indicados e Previsões


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Putz' date=' não consigo imaginar Avatar concorrendo depois daquele trailer.. Espero que indiquem District 9 ou Star Trek.[/quote']

 

District 9 tem uma linguagem documental interessante e o começo é realmente bom. Mas a partir do final do segundo ato até o fim do filme, ele passa a ser algo tipicamente "blockbusteriano" com direito há atos heróicos bizarros e constrangedores...

FeCamargo2009-09-11 16:42:01

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‘Up in the Air’ wowing press in Toronto

Posted by Kristopher Tapley · 12:46 pm · September 11th, 2009

 

 

Up%20in%20the%20AirI’ve been keeping a steady eye on the reactions to a press screening of Jason Reitman’s “Up in the Air” this morning via Twitter.  The film will play to the masses tomorrow night, but so far, it seems to be landing just right across the board.

ComingSoon’s Ed Douglas noted swiftly, “Believe the Hype. This is a very special film. Loved it!”  MSN’s James Rocchi, meanwhile, chimed in

with, “Up in the Air: Don’t believe the anti-hype. Funny, tough, real;

a big step up from all involved, and a touch of The Music Man, too.”

Finally HitFix’s Drew McWeeny seemed almost speechless, offering, “Just out of ‘Up In The Air.’ Devastated. Didn’t expect that emotional response at all” and “I walked ten blocks to the hotel, unable to look a single person in the eye. I am shredded.”

All of that was fine and good and, to a large extent, expected.  But

who would have anticipated a crotchety soul like Jeff Wells to call it the year’s best film and fawn over it like so…

Continue reading »

 

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Por mais que goste do Clooney e anseie por Up in the Air' date=' não gostaria de vê-lo indicado novamente. [/quote']

 

Isso pq vc gosta do cara, hein?06

 

A Academia é doida por ele, até por isso estou achando que ele é o candidato a ser batido.

 

Eu não especifiquei. Não quero vê-lo indicado este ano. Acho que ele já recebeu indicações demais nesses últimos anos e sem merecê-las.

 

E mesmo sem achar que ele ainda não bateu a marca de ser um dos cinco melhores do ano, gosto muito dele, acho que ele sempre entrega ótimos trabalhos e considero sua persona cinematográfica absolutamente irresistível.
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The Coens’ ‘A Serious Man’ is a miracle movie

I wanted to sit down and write a full review of Joel and Ethan Coen’s “A Serious Man,” but structuring my thoughts around a paradigm such as that seems folly at this stage.  I need to see it again — and will certainly do so many more times — before any sort of authoritative personal take will begin to surface.  But a few things stand out that are worth conveying.

In my view, it is the finest Coen film since “Fargo” and, perhaps, since “Barton Fink.”  It is without question the siblings’ most personal film to date, an exploration of the “What does it all mean?” thoughts that plague each of us on a daily basis.  (The repetition of the line, “What’s going on?,” is by no means incidental.)

However, despite the film’s heavy dosage of the particulars of the Jewish faith, it is also curiously universal.  After all, I don’t know from Hashem, but the film affected me deeply, it’s themes and ideas resonating from start to finish.

The film is beautifully abstract, making the impact of its thought-provoking ideas all the more profound.  It features a central performance that could seem merely capbale at first notice, but has a certain refined quality the more one considers it.  And there is a remarkable rhythm to the film, a reminder of the Coens’ brilliance at orchestration and craft.

That’s all I’ll say for now.  “A Serious Man” is a work of art, plain and simple.  I’m smitten.

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TIFF #5: The man who didn't land





By
Roger Ebert
 on September 11, 2009 7:02 PM


| Permalink

| Comments (20)








upinair.jpgIt
was two years ago on Saturday night that Jason Reitman's "Juno" had its
world premiere here at Toronto. The standing ovation that night was the
most spontaneous and joyous I can remember. Still vibrating, Reitman
stood on the stage of the Ryerson Theater and vowed, "I'm gonna open
all of my films right here in this theater at Toronto." True to his
word, his new film "Up in the Air" played the Ryerson at 6 p.m.,
Saturday--same time, same place.



It stars George Clooney in one of his best performances, as a
frequent flyer. During the course of the movie he passes the 10
million-mile mark in the American Airlines Aadvantage Program, becoming
the seventh such person in history. Asked on an airplane where he
lives, he replies, "Here." He's a Termination Facilitator. He fires
people for a living. When corporations need to downsize quickly, he
flies in and breaks the news to the new former employees. In a lousy
economy, his business is great.






The

film has a lot to say about unemployment, but it isn't about the

economy or living on the road. It's about loneliness, a feeling the

Clooney character thought he would never experience. To fellow road

warrior (Vera Farmiga), he insists he never wants to get married, never

wants to have children, and doesn't own a home. He gives inspirational

talks on how to empty the backpack of your life of all those people and

possession you've been lugging around.


This is Reitman's third feature. Still only 32, the son of the

Canadian producer-director Ivan Reitman ("Ghost Busters"), he grew up

behind the counter of the family store, to speak. All of his films are

very funny, but none of them is a comedy. That's not easy to do. Nor

has he made a film aimed only at his generation, although Juno, to be

sure, is 16. All three are about social issues. "Thank You for Smoking"

(2005) was about the promotional strategies of the tobacco industry.

"Juno" (2007) was about teenage pregnancy. "Up in the Air" is about the

so-called Bowling Alone Generation, professional people who make a lot

of money for themselves and their corporations, and value that above

families and relationships. They may not even much care about where

they live.

JasonDSC_1282_2.jpg

Jason Reitman the day after "Juno" landed
(Ebert)



The rise of Jason Reitman is in a way emblematic of the Toronto

Film Festival. It was founded before he was born. His father was

instrumental in it from the beginning--and his family, indeed, owned

the land on which the Bell Lightbox, the festival's new permanent home,

is rising. Over the years Jason attended dozens of festival movies, not

as his father's son, but as another one of those kids gung-ho for

movies and lining up outside theatres, topping up from their bottles of

mineral water. He represents the hope of the cinema.


By that I don't mean Reitman, personally, carries the future on his

shoulders. I mean that from his first film he has held himself to a

high and worthy standard. He might have made teen sex comedies, buddy

movies, horror, anything. He decided to make films for people who

think. Not intellectuals or movie snobs, but people who seek films

about characters who have something to express and a style of

expressing it.


It's too bad the term "adult movies" means "X-rated films." It

should mean "movies for the mature." You can be 12 years old and be

mature. You can be 30, 40, 50, and you'll never be mature. Every summer

brings the usual "tentpole movies," expensive action fantasies filled

with CGI special effects. They open with multi-million-dollar media

campaigns, fast food tie-ins, toys, video games, t-shirts. They gross

100, 200 million dollars, and fade from sight like a hurricane--leaving

damage behind, but little of value. Nobody in Hollywood ever got fired

for making one of these movies. They turn a profit. They have to. The

system is gamed. If you spend enough money promoting a movie, you can

guarantee yourself a profit.

upinair2.jpgGeorge Clooney and Vera Farmiga: Road warriors


For 34 years, in Toronto on the weekend after Labor Day, movies
for the mature come back into season. Several of next year's Oscar
nominees invariably open. Most of the 361 films here will not win
nominations, or maybe even make money. But very few of them were made
for cynical reasons.




You can be 32 and already have three good films under your
belt. Look at Spielberg. You need to find the financing, of course, but
that's not the hard part. The hard part, as wise men have said for
generations, is story, story, story. Reitman's films are not in the
business of following formulas. All three have pointedly ended in ways
we probably didn't expect. All three have insights deserving
consideration. All three require actors who can deliver complex and
fascinating dialogue. All three make us care. That with Reitman we also
usually laugh a good deal is so much the better.



I've seen a lot of wonderful films here already. Lone Scherfig's
"An Education." Steven Soderberg's "Informant!" The Coen brothers' "A
Serious Man." Michael Haneke's "The White Ribbon." Lee Daniels'
"Precious." Several others. More to come. Last July as I was watching
"Transformers: Revenge of the Fallen," I knew this season would come.
After that film was over, I was 150 minutes closer to it.


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Como fã incondicional dos irmãos Coen, quero muito que eles sejam indicados. Com as críticas dos jornaistas lá em Toronto, me animei mais ainda.

 

Sobre "Up in the Air", talvez seja o queridinho da crítica este ano (como foi com "Quem Quer Ser um Milionário?" no ano passado). Mas o trailer é ótimo, não tem aquele "clímax" que na minha opinião estraga o trailer e às vezes até o filme. É um monólogo interessante do personagem do Clooney. Esse parece ser bom mesmo.

 

Sobre o george Clooney, é bem provável que ele seja indicado. Mas tem uma coisa que não entendo: ele ganhou o Oscar de ator coadjuvante por "Syriana", ma ele é um dos protagonistas da história! Como isso pode acontecer? A Academia comete os seus erros de vez em quando...
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Se Roger Ebert, um dos melhores críticos americanos, gostou, então o filme deve ser ótimo. Achei interessante o último parágrafo da crítica dele, que é mais ou menos assim:

 

"Assistindo a 'Transformers - A Vingança dos Derrotados', sabia que viria muitos filmes bons a partir de setembro. Acertei."

 

Ou seja, a disputa para o Oscar do ano que vem promete ser uma das mais acirradas dos últimos tempos.
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O Ebert não é garantia de nada. Esse ano mesmo ele disse que Presságio é um dos melhores thrillers de todos os tempos. 06

O que está transformando Up in the Air em um nome certo - talvez o favorito que o ano não tinha até agora - é o fato de ter sido praticamente unanimidade.

 

Acho que hoje podemos dizer que temos Up in the Air, An Education, The Hurt Locker e Up como "certezas" e Invictus, Avatar e Tree of Life como incógnitas promissoras.
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O Ebert não é garantia de nada. Esse ano mesmo ele disse que Presságio é um dos melhores thrillers de todos os tempos. 06

 

É mesmo? Bem, não posso falar nada sobre "Presságio" porque evito filmes-catástrofe. Aliás, ultimamente ando evitando o máximo possível filmes-pipoca, como "Transformers" e "Harry Potter".

 

Mas crítico de cinema não garante nada mesmo. Disse isso porque ele é um dos críticos mais respeitados do mundo. Ou seja, disse por dizer mesmo...
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Elogios aumentados começam a surgir para a Julie por "A Single Man". Seria lindo vê-la indicada novamente.... .

 

Sem falar que estão começando a falar coisas boas do trabalho dela em Chloe tb... Seria um sonho vê-la indicada e vê-la vencer...Depois disso só falta mesmo a vitória da Annette Bening.06
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O Ebert não é garantia de nada. Esse ano mesmo ele disse que Presságio é um dos melhores thrillers de todos os tempos. 06

 

É mesmo? Bem' date=' não posso falar nada sobre "Presságio" porque evito filmes-catástrofe. Aliás, ultimamente ando evitando o máximo possível filmes-pipoca, como "Transformers" e "Harry Potter".

 

Mas crítico de cinema não garante nada mesmo. Disse isso porque ele é um dos críticos mais respeitados do mundo. Ou seja, disse por dizer mesmo...
[/quote']

 

 

Pois é, e particularmente admiro muito o Ebert mas o crítico infalível não existe. Por isso dei o exemplo.

 

Sobre "filmes-pipoca", existem os bons e os ruins (do mesmo jeito que os "filmes de arte"). Meu filme predileto esse ano é Star Trek, inclusive.
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