Oscar 2011: Indicados e Previsões

[FeCamargo]

Esse deve ser fodaaaaaa.

 

[Administrator]

 

Ai, como está linda a Michelle. 

 

-------------------------------------------------------------------------------------

 

LivingInCinema

 

  

Trailer: Matt Damon in Clint Eastwood's supernatural drama HEREAFTER. Opens 10/22. http://ow.ly/2CBGF

 

Cain2010-09-10 23:19:24

[Administrator]

‘Conviction’ reviews trickling in

Posted by Kristopher Tapley · 10:28 am · September 10th, 2010

 

I had hoped Fox Searchlight would screen Tony Goldwyn’s “Conviction”

here in LA during Toronto, but I guess I kind of understand why they

didn’t.  I’ve heard nothing but “meh” things on the film since day one

(the first reaction I heard was from someone who saw it before the

studio even picked it up).  That ambivalence is reflected in Brad

Brevet’s C+ review of the film out of Toronto.

Brevet calls it “a rather simple film” and notes that “the emotional

impact of the story comes through in the end after what is a rather

unoriginal, yet compelling story of the innocent man in jail and the

person working hard on the outside to get him out.”  Well, I guess I

could have gleaned that from a synopsis.  Dig, Brad!  Oh, here we go: 

“At no point does this seem like new territory, but outside of being

about ten minutes too long, it’s a film that works despite its rather

traditional dramatic nature.”

Wouldn’t “traditional” be a guarantee that the story would work?  In

any case, I’m just having fun here.  Most I’ve talked to seem to think

Sam Rockwell could charge to the front of the supporting actor derby. 

Brevet writes that the actor plays the character “with enough

eccentricity to make it believable, but never so much that it feels

like a caricature trying to be larger than the scene.”

Continue reading »

 

 

[Beckin]

Sofia Coppola acabou de levar o Leão de Ouro no Festival de Veneza por Somewhere.

 

E a Mila Kunis levou o prêmio de revelação pelo trabalho dela em Black Swan.

Beckin2010-09-11 14:49:26

[Administrator]

Não esperava por essa.

 

[Bob Harris]

Finalmente reconheceram o talento dessa mulher! 

 

[Sync]

Premiação interessante.

 

Se por um lado tivemos Brokeback Mountain levando recentemente o prêmio (que veio a ser posteriormente reconhecido pelo Oscar), tivemos vencedores recentes como O lutador, Lust, Caution e O segredo de Vera Drake que não foram lá muito bem recebidos pelo Oscar.

 

Logo, qual será a repercussão dessa vitória na corrida pelo Oscar? Acredito que temos mais um TOP 10 garantido, ao menos. Concordam?

 

O top 10 já fechado:

1.Toy Story 3

2.A origem

3.The Social Network

4.Somewhere

 

Ou não?

 

 

[Sall]

 

Depois desse Leão de Ouro...

A Origem, Somewhere e  Toy Story 3 jã são barbada.

Será que Social Network vem tão forte assim??

 

Uma coisa que venho notando é um certo "rodízio de diretores". Dificilmente eles se repetem na premiação dos anos seguintes. Como o Fincher apareceu recentemente em 2009...  Sei não...

 

 

Sall2010-09-11 18:33:03

[Sync]

Eu aposto no Social Network tão fortemente assim depois que vi as 4 estrelas do Peter Travers, crítico da Rolling Stone. Quatro estrelas é barbada uma indicação.

 

Talvez tenha exagerado em cravar o Somewhere. A temporada esta muito no começo ainda, e podemos ver Somewhere fora da disputa do Oscar de melhor filme sim, ainda mais se tivermos uma temporada forte e se o filme não continuar a ser lembrado pelas próximas premiações.

 

E acabei de ver que o filme teve uma crítica negativa do Richard Corlis da TIME. Isso é sempre mal sinal.

 

 

 

 

[Administrator]

Parece que HEREAFTER, do Clintón, vai decepcionar...

 

TIFF: ‘Hereafter’ lands with a thud, ‘Let Me In’ bests original?

Posted by Kristopher Tapley · 2:32 pm · September 11th, 2010

 

 

 

I’ve been hearing for a couple of months now that Matt Reeves’s “Let Me In” is as good if not better than Tomas Alfredson’s original film (and a top 10 effort in my book), “Let the Right One In.” I won’t see it for another week or so, but early word out of Toronto dovetails with what I’ve been hearing.

Jeffrey Wells says

the film is “at least as good” as the original and that it is

“carefully copied with a meticulous, unhurried, highly absorbing

style.”  In fact, he eventually admits he liked it better this time

around, largely because he was more impressed with Chloe Moretz than

with Lina Leandersson.  MTV’s Josh Horowitz, meanwhile, Tweets, “It’s breathtaking and yes I think it’s better than the original.”  Variety’s Peter Debruge concurs,

offering that the film “commands respect for not dumbing things down,

offering classy, ‘Sixth Sense’-style crossover potential as it lures

both genre suckers and fresh blood.”  And by the way, I’ve also been

hearing that Michael Giacchino’s score could be something to watch for

this season.

Elsewhere, Clint Eastwood’s “Hereafter” had a last minute press screening at the festival this afternoon in what I imagine was a claustrophobic 139-seat

setting.  Official reviews are embargoed until tomorrow’s public

screening, but I’ve got some disheartening reactions after the jump.

Anonymous guy #1 tells me the film is “banal, okay, so-so, mild,

auto-pilot, meh.  Damon is good.  I believed his readings and

conveyances.  But some of the dialogue (including some of Damon’s) is

too flat, too on-the-nose.  And those teardrops falling down those

cheeks…twice!”  Meanwhile, Cinematical’s Erik Davis Tweets, “First word back from our writer: ‘It might be the worst thing Eastwood has ever directed.’”  Ouch.

Mike D’Angelo (formerly of Esquire and on his own as of late) smacks it with a 25/100 rating and Tweets,

“3 useless narratives go nowhere for 100 mins, then pointlessly

converge in a way that’d make G. Arriaga crack up.”  A rather

disrespectful follow-up Tweet tells us he’s no fan of Eastwood’s work, by the way.  And I gather by context clues that he’s flabbergated the film was chosen as the New York Film Festival’s closing night attraction.

For just a little (though not much) balance, anonymous guy #2 tells

me, “It’s oddly compelling the entire time, but I wasn’t satisfied in

the end…Damon is only in a third of it.  He is quite good.  Just a

peculiar film that I’ll have to sit on. Very different than anything

Eastwood has recently done.  I really hated ‘Invictus’ and this was nothing like it of course.”  /Film’s Peter Sciretta echoes that, offering

that the film “was compelling but ultimately unsatisfying and rather

pointless.”  Anonymous guy #2 tells me the vibe in the room was “not

strong…no sort of response at all.”

I’ll admit to being somewhat compelled by the trailer that underwhelmed so many yesterday, so I’ll try to take all this with a grain.  And remember, it’s worth it to be cautious of any knee-jerk reaction at a festival.  But this isn’t a good early start.

 

 

[pantalaimon]

Melhor notícia, muito feliz pela Sofia.

[pantalaimon]

[Administrator]

 

Saturday, September 11, 2010

 

 

 

 

 

Actress & Supporting Actress. So Many Oscar Questions

 

I've finished updating the acting charts. Just in time for Toronto so

they might need fresh updates any second now as more reviews and hoopla

hits.

 

I've opted to completely overhaul BEST SUPPORTING ACTRESS which is a total cloudy mess. Beyond arguably Jacki Weaver (Animal Kingdom), Dale Dickey (Winter's Bone), Sissy Spacek (Get Low) and the Nowhere Boy

women (Kristin Scott Thomas and Anne Marie Duff who have been kicking

around festivals and international release for a year with this film),

no one has yet proven their viability. It's all just assumptions about

the films, their roles and the overall traction potential. Given that

none of those women have yet laid claim to a super excited committed

fanbase except

Jacki Weaver, I've pushed her into predictions. In a wide open field

this late in the game, a committed fanbase who have been beating your

drum for seven months already will surely help. "Sweetie," I don't want

to overstate the point and sound like I've built a "Jacki Weaver for the

gold!" shrine in my living room, but it's the type of film-seizing

performance that gets nominated -- period -- with a threat to win, if

voters see the film. A mighty big "if" I'm fully aware.

 

Questions. I'd love to hear your answers

• Do you think The Kids Are All Right can hog 40% of the BEST ACTRESS category?
• Do you buy the category placements of Halle Steinfeld and Lesley Manville?
• Which of these performances are you most excited about sight unseen?
• Do you have any suspicions about who might actually win? (I don't!)
• Do you think they'll just give up on supporting actress and nominate this field based on the Best Picture candidates?
• Do you think the acting in Black Swan can win favor, even if they don't love the film?
• So many release dates are up in the air. Who won't we see until next fall/winter?

 

 

Written by

NATHANIEL R

Oscar Predictions Revised: Actor and Supporting Actor

 

Don't believe anybody who starts shouting about "locks" just yet. It's

only September. Both male acting categories look highly competitive. The

easiest gets on paper are probably the two men from King's Speech

just on account of momentum (Colin Firth) and general awards magnetism

(Geoffrey Rush) combined with prime Bait. But most of the competition

isn't that clear yet. Toronto will clear some things up but festival

reaction can be tricky to read. It's different air that they breathe at

festivals. Plus, the first three or four reviews for any given film will

not always turn out to be consensus opinion. It takes more than one

person's opinion to win traction.

 

And then you never really know

which films will have staying power once the groups who try to sway

Oscar voters start announcing their "best".

 

Here are some big question marks in ACTOR and SUPPORTING ACTOR I see coming:

• If The Social Network doesn't skew too young and cerebral for Oscar, will they recognize any of the actors and if so, which?
• If the war drama The Way Back

  gets a regular release (or even just a qualifier), which actors will

  get traction. So far reviews are kind to all of them. And what will

  happen, distribution wise, with Ed Harris's other awards option, What's Wrong With Virginia?

• The

  Coen Bros films don't often win acting nods... but when they do they

  actually win 50% of the time: 2 winners: Javier Bardem, Frances

  McDormand; 2 losing nominees: Willam H Macy, Michael Lerner. So what

  will happen with True Grit?

• Are some of the small films winning acting kudos only going to place at the Indie Spirits?
• Do we think Mark Ruffalo or Sam Rockwell are finally going to get a nomination... or will both have to wait again?

 

 

Written by

NATHANIEL R

Cain2010-09-11 22:21:18

[saulomeri]

Acho estranho ainda estarem apostando em Hathaway depois da divulgação do trailer dessa nova promessa de bomba do Zwick.

 

 

 

E Julianne, Nicole, Michelle, Hawkins não.

[Sall]

 

Claro que muita coisa tá vindo por aí mas quais as chances de Ilha do Medo em Fotografia? Só aquelas cenas do fogueira e dos fósforos...

 

Vi ontem e confirmou a qualidade técnica que os trailers já anunciavam.

[Administrator]

Miranda Richardson de volta ao Oscar? Nathaniel Rogers diz que é uma possibilidade:

 

Speaking of Oscar buzz, Miranda Richardson's definitely going to get it (the buzz I mean... not neccessarily the statue) for Made in Dagenham since the early reviews all single her out. Sally Hawkins could be a Best Actress contender as well but that awful snubbing for Happy Go Lucky might indicate that they just don't respond to her.

 

 

[pantalaimon]

Amanhã estreia em Toronto o novo filme do John Cameron Mitchell, de Hedwig e Shortbus, com a Kidman; "Rabbit Hole". pantalaimon2010-09-12 19:49:55

[Administrator]

O que mais me interessa nesse é saber se Dianne Wiest tem chance ou não de voltar às premiações... 

 

[guidon]

"Country Strong" parece mais um belo trabalho da Paltrow.  Que atriz ela se tornou!  Sobre a Hathaway, eles querem empurrar ela a goela, mas acho que bomba negativamente assim que começar pra valer as premiações.  Acho que a força continua com a Bening.

[Administrator]

Country Strong parece déjà vu de Crazy Heart.

[Garbage]

Hereafter

By JUSTIN CHANG

Bryce Dallas Howard and Matt Damon star in 'Hereafter,' produced and directed by Clint Eastwood from a screenplay by Peter Morgan.

A Warner Bros. release of a Malpaso, Kennedy/Marshall production. Produced by Clint Eastwood, Kathleen Kennedy, Robert Lorenz. Executive producers, Steven Spielberg, Frank Marshall, Peter Morgan, Tim Moore. Directed by Clint Eastwood. Screenplay, Peter Morgan.
 
George Lonegan - Matt Damon
Marie LeLay - Cecile de France
Billy - Jay Mohr
Melanie - Bryce Dallas Howard
Marcus/Jason - George McLaren, Frankie McLaren
Didier - Thierry Neuvic
Dr. Rousseau - Marthe Keller
Himself - Derek Jacobi
 

Clint Eastwood moves into risky new territory with old-fashioned grace and sturdy classical filmmaking in "Hereafter." An uneven but absorbing triptych of stories concerning the bonds between the living and the dead, the 80-year-old filmmaker's latest feature is a beguiling blend of the audacious and the familiar; it dances right on the edge of the ridiculous and at times even crosses over, but is armored against risibility by its deep pockets of emotion, sly humor and matter-of-fact approach to the fantastical. Oct. 22 release may divide even Eastwood partisans, but should generate sufficient intrigue to portend positive B.O. readings.

The screenplay by Peter Morgan (taking a break from dramatizing the lives of British celebrities) quickly establishes three parallel narratives, the first of which kicks off in disaster-movie mode: French TV journalist Marie LeLay (Cecile de France) is vacationing in the tropics with b.f. Didier (Thierry Neuvic) when the 2004 Indian Ocean tsunami hits. Borne along by the rapidly moving tides, rendered with inexpert visual effects but a vivid sense of peril, Marie hits her head, blacks out and has an otherworldly vision -- all blindingwhite light and ghostly silhouettes -- before regaining consciousness.

Meanwhile, in San Francisco, George Lonegan (Matt Damon), a construction worker trying to repress his apparently genuine psychic gift, fends off requests from acquaintances and strangers hoping to communicate with their lost loved ones. Finally, in London, young twin brothers Marcus and Jason (played interchangeably by George and Frankie McLaren) try to ward off social services by covering up for their alcoholic mother, yielding unexpectedly tragic consequences.

Eastwood allows each of these stories to develop in unhurried fashion, always keeping the specter of death hovering in the background. Marie returns to Paris but has trouble readjusting to her job after her traumatic experience, while one of the boys, Marcus, becomes eerily obsessed with psychic phenomena. And George, in an unusually charming development, joins an Italian cooking class (taught by Steven R. Schirripa, boisterously channeling Emeril Lagasse), where he's paired with a beautiful stranger, Melanie (Bryce Dallas Howard).

The question that propels "Hereafter" is how these three yarns will eventually converge (the answer: creakily), and on the face of it, this fractured, globe-trotting tale of fate and mortality bears a strong resemblance to the work of scribe Guillermo Arriaga, specifically "Babel." But while the film trades in too many coincidences -- suffice it to say the tsunami is not the only real-world disaster the film invokes -- the mitigating charm of Eastwood's approach is how subdued, unportentous and laid-back it is. He seems in no hurry to establish the missing links, trusting us to engage with the characters before we know exactly how they fit together.

As though aware of the raised eyebrows that may greet his borderline-schlocky choice of material, Eastwood pauses midway through to register a healthy measure of skepticism; a montage shows one character consulting a series of psychics, every one of them a charlatan. Even still, we're meant to take it on faith that Damon's George is the real deal (his gifts are even given a biological explanation), and the film presents his frequent glimpses of the netherworld -- similar to Marie's near-death visions -- in an unquestioning manner that viewers will have to either accept or reject.

As unabashedly suffused with emotion as any of Eastwood's films, "Hereafter" is finally less interested in addressing life's great mysteries than in offering viewers the soothing balm of catharsis; the portal to the beyond, as conceived here, serves merely as a practical gateway into inner peace, romantic renewal and, most consolingly, the reassurance that our loved ones never leave us. This sentiment is conveyed when George reluctantly performs a reading for Melanie, all the more powerful for its apparent disconnection from the rest of the story.

The fact that much of the film is set in Europe lends it a unique look and texture in the helmer's oeuvre; Tom Stern's camera at times pulls back to take in the varied landscapes, but bathes many of the interiors in his customary inky blacks, the intense chiaroscuro serving to up the hushed, spiritual quality of the film's most intimate moments. As usual, Eastwood's score is a tad overinsistent if melodically spare, its few notes reiterated on various instruments (including piano, guitar and harmonica), and supplemented here by snippets of Rachmaninoff.

Damon and de France (toplining her first major studio picture) are sympathetic enough as characters who are more or less at the mercy of the cosmos, while the brothers McLaren eventually cast off their Dickensian-moppet shackles, particularly in the final reel. But it's Howard whose relatively brief presence really lingers, her performance starting off goofy and ingratiating before taking on an almost otherworldly intensity.

Read more: http://www.variety.com/review/VE1117943529.html?categoryid=2863&cs=1#ixzz0zNYW7VaI
Visit Variety.com to become a Variety subscriber.

[Administrator]

OFF-TOPIC: trailer da minissérie de Todd Haynes com Kate Winslet, MILDRED PIERCE: http://www.awardsdaily.com/2010/09/hbos-mildred-pierce-teaser/

 

[Administrator]

Ebert’s Hereafter Rave

09/13/10 - Posted by Sasha Stone in BEST PICTURE,Hereafter
No Comments

Ebert is someone who knows a thing or two about life and death.  It
isn’t just his own experience with cancer that gives him this depth; it
is also his natural curiosity and profound intellect.   While others can
sometimes rely on their same old bag of tricks, Ebert seems to be
thriving in this era of his writing career.  There are a few people
whose opinions matter in terms of the Oscar race.  They matter because
they are trusted sources.  Many of our readers can’t forgive Ebert for
choosing Crash over Brokeback Mountain, which seems silly to have even
typed.  But we all do evolve over time, and we come to realize how silly
our own convictions were once and long ago.  At any rate, Ebert and
Ebert alone seems poised to put Hereafter on the right track, at least for now:

Clint Eastwood’s

Hereafter

considers

the possibility of an afterlife with tenderness, beauty and a gentle

tact. I was surprised how enthralling I found it. I don’t believe in

woo-woo, but there’s no woo-woo anywhere to be seen. It doesn’t even

properly suppose an afterlife, but only the possibility of consciousness

after apparent death. This is plausible. Many near-death survivors

report the same memories, of the white light, the waiting figures and a

feeling of peace.

Continue Reading…

[FeCamargo]

 

And the Emmy goes to: Kate Winslet!

 

Todd Haynes parece ter feito arte, mais uma vez.

FeCamargo2010-09-13 14:28:40

[Administrator]

TIFF: ‘Barney’s Version’ returns home, raves for Giamatti

Posted by Guy Lodge · 6:22 am · September 13th, 2010

 

 

Last night’s North American premiere of “Barney’s Version”

in Toronto was something of a homecoming for the Canadian production —

it was, of course, first unveiled on Friday at the Venice Film Festival,

where its soft-centered middlebrow appeal rather stood out against the

more rigorous auteurism of its fellow Competition titles.

If Richard J. Lewis’s film proved too MOR to impress Quentin

Tarantino’s jury (even Paul Giamatti, much fancied for the Best Actor

prize, left empty-handed) it was nonetheless enthusiastically received

on the Lido, earning sustained applause, and even a few whoops, at the

industry screening I attended. You’d expect, then, its home audience to

be similarly receptive, though word seems pretty quiet so far.

Via Twitter, Anne Thompson echoes a view I expressed in my own positive review,

saying that “if [sony Picture Classics] play their cards right, Paul

Giamatti could get an Oscar nom” for his performance as a dissolute,

thrice-married TV producer. (She later adds that the film’s after-party was “lame,” but I’m sure she won’t hold that against him.)

Continue reading »

TIFF: ‘Hereafter’ reviews reflect split opinions but indicate a potential Oscar player

Posted by Kristopher Tapley · 9:44 pm · September 12th, 2010

 

 

Yesterday’s knee-jerk reactions to Clint Eastwood’s “Hereafter”

fell in the overwhelming negative following an afternoon press

screening.  At the time, I noted that festival quick takes should be

taken in context and that perhaps more measured responses could tell

another tale.

Well, the embargo lifted roughly 45 minutes ago.  Variety’s Justin Chang has fired off

a mostly positive assessment that admits the film’s triptych of stories

comes together “creakily” and that the film is “uneven,” but he seems

to be willing to cut the filmmaker a little slack by appreciating the

lax approach conveying the narrative.  The film is “a beguiling blend of

the audacious and the familiar,” he writes, “but is armored against

risibility by its deep pockets of emotion, sly humor and matter-of-fact

approach to the fantastical.”

Screen Daily’s Mark Adams, meanwhile, calls

the film “a bold change of pace” for Eastwood, praising him for not

“resort[ing] to any clever editing to tell the three parallel

stories…those interested in a shrewdly made and well-scripted drama

about loss and compassion will be intrigued and impressed.”

Continue reading »

OFF THE CARPET: The year of the woman, take two?

Posted by Kristopher Tapley · 9:11 am · September 13th, 2010

 

 

It wasn’t by coincidence that the three photos decorating the season’s introductory installment

of this column two weeks ago represented lead actress contenders in the

2010 Oscar race. After all the talk of 2009 being “the year of the

woman,” owing much to the number of female directors who found

themselves in the mix (and inevitably leading to Kathryn Bigelow’s

history-making moment at the Kodak), I’m sensing an even better argument

for 2010 as a singular season for the fairer sex.

Let’s start with the performances. By my count, there are already

eight nominatable offerings from lead actresses this year (which

contrasts drastically with a dearth of supporting hopefuls).  This is

just going by what I’ve seen, mind you.

For starters, Natalie Portman has dazzled the early festival season with her work in “Black Swan.” Lesley Manville, meanwhile (should she remain a lead focus), sets a high bar in “Another Year.” Despite my feelings on the film, Carey Mulligan really settles into a next-level groove in “Never Let Me Go,” and Jennifer Lawrence, of course (like Mulligan last year), has already become the year’s star-in-the-making story in “Winter’s Bone.”

Dovetailing with the performances themselves, there are also films that seem to reflect the theme in narrative. In “Secretariat,”

for instance, Diane Lane capably (if a bit histrionically) portrays

headstrong Penny Chenery, a woman of virtue in an era when she was

expected to keep her head down and clean house. Similarly, Sally

Hawkins absolutely kills as the Norma Rae-ish Rita O’Grady in “Made in Dagenham,”

fighting for equal pay in a similar time (and she’s likely to be joined

in the hunt by co-star Miranda Richardson for a fiery supporting turn).

And we can’t forget the palpable feminism apparent in summer indie “The Kids Are All Right,” where Annette Bening and Julianne Moore both bring their “A” game.

Continue reading »

‘Life, Above All,’ ‘Uncle Boonmee’ enter Oscar race

Posted by Guy Lodge · 12:54 pm · September 13th, 2010

 

 

I

lost track of the foreign-language Oscar submissions while I was away

in Venice, so the entry of my own favored horse into the race seems like

a good occasion to catch up. If you kept up with my Cannes coverage,

you might remember that I made a slightly off-center prediction while reviewing the South African AIDS drama “Life, Above All” — that it would secure a Best Foreign Language Film nod next year, and could even be the film to beat for the Oscar.

I stand by that call, and it remains on track: South Africa, seeking

its third nomination and second win in the category since 2004, has

predictably submitted Oliver Schmitz’s film to the Academy. (Thanks to

Bianca Jacobsohn for notifying me.) The film recently had its North

American premiere at the Toronto fest, where it seems to have been

warmly received, and has already been adopted

by Sony Pictures Classics — the studio that dominated last year’s

foreign-language race with three of the five nominees, including the

eventual winner.

I maintain that the film’s child’s-eye focus and heart-tugging issue

drama place it squarely in the Academy’s wheelhouse — that it’s also a

strong film only helps matters.

Continue reading »