Oscar 2012: Previsões

[FeCamargo]

Acho que ela produziu aquela bicheira do Trashcious..

 

...

 

Finalmente vai sair esse filme do Lonergan... Anna Paquin deve estar bem diferente, afinal, passaram-se uns 5 anos da filmagem?

 

 

 

[Thico]

Acho estranha essa homenagem a ela, mas para dizer que há ALGUMA lógica nisso, ela produziu um filme indicado a Melhor Filme (Precious, como disse o Felipe) e foi indicada, ela mesma, como atriz coadjuvante, por A Cor Púrpura.

 

 

[Thico]

Ah, assisti aquele Country Strong, com a Gwyneth Paltrow. Eu meio que gostei do filme que, por exemplo, é bem melhor que Crazy Heart (para ficar no "gênero"). E Gwyneth está muito bem, melhor que Annette Bening e poderia perfeitamente ter sido indicada ao Oscar. Pensando aqui, ela é uma atriz extremamente criticada, principalmente por ter levado aquele Oscar em 99 (injusto, é verdade), mas foi injustiçada três vezes já, na minha opinião, não tendo recebido indicações por The Royal Tenenbaums (atriz coadjuvante), A Prova e Country Strong. Além de uma excelente atuação em Amantes (e pensando que o ano em que o filme era elegível era o ano passado, Gwyneth também poderia ter sido lembrada).

 

 

[FeCamargo]

Eles odeiam ela por lá.

 

A repercussão do trailer de Contagion, em muitas matérias tinha algo do tipo: pelo menos Gwyneth morre no começo...

 

Um absurdo, pq ela se tornou uma atriz muito interessante.

 

 

 

[Renan Maia]

Realmente ainda há muitas atrizes veteranas para receberem um Oscar honorário, mas vale destacar que a Oprah vai receber o Prêmio Jean Hersholt, por seus trabalhos humanitários.

[skellington]

Estou em dúvida por qual filme torcerei esse ano. (Tão ligado na maldição né?)

 

 

 

Meus 3 diretores favoritos lançarão filme essse ano (Spielberg' date=' Scorsese e Fincher). Então não sei qual escolher....[/quote']

 

 

 

Vixe, vai de Scorsa.

 

 

 

Seu filme não parece lá um perfil muito oscarizável (só nas técnicas), e você já zicou o Fincher este ano.   

[Cremildo]

Warner planeja campanha maciça em prol de indicações ao Oscar para HARRY POTTER E AS RELÍQUIAS DA MORTE PARTE 2. http://bit.ly/r1KEFu

 

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Weta out in front for VFX Oscar with ‘Apes’

Posted by Kristopher Tapley · 3:25 pm · August 3rd' date=' 2011

 

I missed last night’s big press screening of “Rise of the Planet of the Apes”

(inexplicably held until the last minute and then embargo-requested —

didn’t hold — by the studio despite people loving the film). I will,

however, be catching it tomorrow night, but one thing we’ve been

counting on since the beginning is a nomination for Best Visual Effects.

Now, it’s looking more and more like the film could just walk away

with the statue. Put state-of-the-art effects in a bad movie and you

have an uphill climb. Just ask “Transformers.”

The Academy at large doesn’t know what it should be looking for in the

below-the-line categories, so more often than not, members just pick

their favorite of the bunch.

However, if you have undeniable effects work in a blockbuster that

actually goes over well with the Academy, you have something to work

with.

Continue reading »

 

[/quote']

 

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‘The Help’ and the year’s best ensemble performance…so far

Posted by Kristopher Tapley · 2:49 pm · August 3rd' date=' 2011

 

Now that I’m done crying my eyes out, a few words on Tate Taylor’s “The Help,” which I caught this afternoon.

It’s a beautiful film, safe, sure, but it knows where to lay the

emotional hammer down and where to let the rock keep skipping on the

surface. Most striking is the ensemble, as there isn’t a single bad

performance in the film. In fact, I’d say all of the them are

comfortably above average, the highlights coming from Viola Davis and

Octavia Spencer. But then Jessica Chastain was my personal favorite. Oh,

and what about Sissy Spacek leaving you in the aisles?

You see? It takes a real special touch to get this kind of

across-the-board perfection out of a cast. Bryce Dallas Howard has

pinpoint devilish precision. Allison Janney wiggles her way into your

heart even after you don’t want her there. Ahna O’Reilly captures that

locked-in submissive state wonderfully. Cicely Tyson punches you in the

gut with just a few minutes of screen time. On and on. Oh, and Emma

Stone…duh.

Continue reading »

 

[/quote']

 

 

 

[leomaran]

Depois dessa bilheteria monstro do Harry Potter e campanhas da Warner pro Oscar, já não acho tão impossível a indicação dele. Mas bastante difícil, mesmo assim.

 

E tem-se falado pouco desse Rise of the Planet of the Apes. Pelo jeito, vai ser uma boa surpresa.

[guidon]

 

Ah' date=' assisti aquele Country Strong, com a Gwyneth Paltrow. Eu meio que gostei do filme que, por exemplo, é bem melhor que Crazy Heart (para ficar no "gênero"). E Gwyneth está muito bem, melhor que Annette Bening e poderia perfeitamente ter sido indicada ao Oscar. Pensando aqui, ela é uma atriz extremamente criticada, principalmente por ter levado aquele Oscar em 99 (injusto, é verdade), mas foi injustiçada três vezes já, na minha opinião, não tendo recebido indicações por The Royal Tenenbaums (atriz coadjuvante), A Prova e Country Strong. Além de uma excelente atuação em Amantes (e pensando que o ano em que o filme era elegível era o ano passado, Gwyneth também poderia ter sido lembrada).

 

[/quote']

 

 

 

Realmente não consigo entender: quando ela era uma promessa, ganhou Oscar, era queridinha da crítica.  Hoje, que se tornou uma grande atriz, é esnobada.  Ela podia ter fácil mais três indicações ao Oscar.  Só discordo em relação a Bening, mas tá maneiro.

 

[Oberon]

J. Edgar e Extremely Loud and Incredibly Close ganharam datas de estreia: 9 de novembro e 25 de dezembro, respectivamente.

 

My Week with Marilyn será apresentado no New York Film Fest em outubro, e o seguinte comentário foi divulgado:

 

“After seeing Marilyn Monroe so often portrayed in films as a caricature, it is a pleasure to see this complex personality and unique on-screen presence portrayed so well by such a talented actress as Michelle Williams,” says Richard Peña, Selection Committee Chair & Program Director, The Film Society of Lincoln Center.

 

 

Oberon2011-08-04 19:27:13

[Cremildo]

A macacada tá com tudo.

 

Pode apostar que o estúdio vai fazer alguma campanha especial pro Andy Serkis.

 

TIME gives Rise of the Apes a perfect score

 

 

By Ryan Adams

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August 4' date=' 2011

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Reviews

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4 Comments

 

 

 

 

 

 

Joe Neumaier at the New York Daily News gave Rise of the Planet of the Apes its first grade-A 100 rating. Now TIME’s Richard Corliss

agrees with another perfect score. Corliss says Rupert Wyatt’s film

“deserves to be in the company of the great original Kong. This year’s

sixth ‘origins’ story of a fantasy franchise is also the year’s finest

action movie.”

No question, the movie is an astounding triumph of visual

effects. Again, Serkis is playing a motion-capture monkey — the prime

primate, Caesar — and gives a performance so nuanced and powerful

it may challenge the Academy of Motion Picture Arts and Sciences to give an Oscar to an actor who is never seen in the film

…

The original film was a satire of race relations, in the decade of

the Selma marches and Watts riots, with the haughty apes treating their

human invaders as inferiors. Rise is a story of emancipation as seen

from both sides: the human (sympathetic liberals incapable of stanching

an armed revolt) and the simian (we gotta be free).

Even if you don’t buy Rise as a semiprofound social document, the

utterly seductive integration of apes and men should slacken your jaw in

amazement. We have reached that moment in movie history when the

century-long chasm between live action and animation has been closed;

Rise is a seamless blend of the two. It marks a major advance over

Avatar, for it allows the motion-capture actors and the “real” ones to

interact in natural locations — in the wild, so to speak — beyond

Avatar’s enclosed fantasyland of the planet Pandora. Technical

innovation is sometimes yoked to leaden narratives, but Wyatt and his

collaborators made sure to wed their visual strategies to potent themes.

The result is a work of high, often thrilling popular art.

[/quote']

 

Unleashed: The Rise of the Planet of the Apes is 2011′s Best Film so Far

 

 

By Sasha Stone

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August 3' date=' 2011

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BEST PICTURE

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57 Comments

 

 

 

 

 

 

The best movies you never see coming. Into the Age of Anxiety comes

this redux of the familiar Planet of the Apes series which relies

heavily on that familiarity as it charges forward into uncharted

territory. That territory is part breathtaking technology, part human

self-loathing for what we’ve done, who we’ve become and our own

despairing hopelessness about our future, and part rumination of the

animal within: it all vibrates and quakes in this, one of 2011′s best

films.

Never underestimate the element of surprise. Expectations weren’t

running high — the thinking was it would be as campy as the old Planet

of the Apes movies or worse, as bad as the Tim Burton one. What most

weren’t expecting, of course, was that the Rise of the Planet of the

Apes would be so character driven: because the technology is now

seamless, there is very little separation between our awe and our

emotional reaction. But still, with a movie like this there will always

be those who refuse to take it seriously because technology is scary,

which of course, is part of the film’s central theme.

[/quote']

 

 

 

[leomaran]

Eu num dava nada por esse filme. Agora vou aguardar a estreia por aqui com alguma ansiedade.

[Renan Maia]

Ah' date=' assisti aquele Country Strong, com a Gwyneth Paltrow. Eu meio que gostei do filme que, por exemplo, é bem melhor que Crazy Heart (para ficar no "gênero"). E Gwyneth está muito bem, melhor que Annette Bening e poderia perfeitamente ter sido indicada ao Oscar. Pensando aqui, ela é uma atriz extremamente criticada, principalmente por ter levado aquele Oscar em 99 (injusto, é verdade), mas foi injustiçada três vezes já, na minha opinião, não tendo recebido indicações por The Royal Tenenbaums (atriz coadjuvante), A Prova e Country Strong. Além de uma excelente atuação em Amantes (e pensando que o ano em que o filme era elegível era o ano passado, Gwyneth também poderia ter sido lembrada). [/quote'] O problema é que ela foi superestimada ainda jovem e ganhou um Oscar totalmente imerecido, quando na verdade deveria ter muito que evoluir ainda antes de merecer o prêmio. Tudo que ela fez depois não teve mais o impacto positivo que poderia.

[Cremildo]

 

Eu num dava nada por esse filme. Agora vou aguardar a estreia por aqui com alguma ansiedade.

 

Idem' date=' aqui. Só comecei a me empolgar depois de ver e rever os trailers.

 

 

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Brett Ratner and Don Mischer announced as Oscarcast producers

Posted by Kristopher Tapley · 5:01 pm · August 4th, 2011

 

Is this the day the earth stood still? Eesh. Via AMPAS release:

Brett Ratner and Don Mischer will produce the 84th

Academy Awards telecast, Academy of Motion Picture Arts and Sciences

President Tom Sherak announced today. This will be Ratner’s first

involvement with the Oscar show; Mischer will for the second year in a

row serve as a producer and as the telecast director.

“I was so impressed with Brett when I met with him to discuss the

Oscar show,” said Sherak. “He has an incredible love of film and its

history and is a true student of the business of movies. He’s

unbelievably creative and knows how to take risks that are both

interesting and inspiring. Together with Don Mischer – who, by the way,

just earned an Emmy nomination for his work on the 83rd Academy Awards –

I think these two will give us a fantastic Oscar show that you won’t

want to miss.”

 

 

[bs11ns]

O problema com a Gwyneth é que ela ganhou num ano em que as atuações eram tão boas quanto a dela e executadas por atrizes mais tarimbadas e queridas do que ela era. Eu sempre achei o OSCAR dela merecido porque amo o filme e não é fácil interpretar dois papeis com aquele grau de dramaticidade (embora Fernanda e Blanchett se encontrassem, repito, á altura dela). Atualmente ela melhorou demais e virou ótima atriz, só que está simplesmente esquecida pq nunca mais teve um papel forte como aquele. Continuo gostando muito dela.

 

 

 

Vi o trailer de O Espião que Sabia Demais e gostei muitíssimo. Ansioso pra ver aquele elenco espetacular numa tama que parece ser daquelas de tirar o fôlego.

[Beale]

O trailer é excelente mesmo. A cena em que uma estrutura se abre e o cara vem a ser apunhalado pelas costas no final do trailer é linda, algo que me remete a Hitchcock e Brian de Palma. Revi o trailer umas três vezes, muito por conta dessa cena.

 

War Horse e Extremely Loud and Incredibly Close no Natal... Preparem os lenços.

[Bruno P]

 

Esse trailer de O Espião que Sabia Demais é muito bom mesmo, gostei particularmente da trilha que aumenta o clima de suspense que é mostrado pelas cenas. E o elenco é bem interessante. È verdade que trailers enganam com grande frequencia, mas desde ja esse é um dos mais aguardados por mim. Vamos ver se o Gary Oldman emplaca alguma indicação dessa vez.

 

 

 

 

 

[Beale]

Além da parte técnica e trilha sonora primorosas O Espião que Sabia Demais tem outro grande trunfo, o elenco. Nada como um bom suspense com a nata britânica. Êita que esse terreno é fértil por lá.

Aliás, esse ano sai outro filme de espionagem britânico com um grande elenco, Page 8, com Ralph Fiennes, Rachel Weisz, Judy Davis, Michael Gambom e Bill Nighy. A BBC bem que poderia liberar uma meia dúzia de cópias no Reino Unido e nos Estados Unidos antes de exibir na televisão pra acirrar a disputa na temporada de premiações.

[Cremildo]

Primeiras previsões de David Poland:

 

29 Weeks To Oscar: Pre-Toronto

 

Ahhhhhhhh…scar.

It’s that time again. The horses are being walked to the gate. The

jockeys' date=' trainers, and reporters are talking strategy. In a few weeks,

the race will start… and just 6 short months later, someone will win.

Oy.

Disney will be involved in the non-animated race in a serious way for

the first time in a while, with DreamWorks now in-house and Spielberg’s

War Horse and long-shot August release, The Help.

Universal’s not really playing, except via Focus.

Focus is really a one film situation this year… at least, going into

Toronto. They could really pick up one of the hot titles without

distribution and push it out there in a hurry. They’ve been down the

road successfully with Meirelles and Weisz… though that suggests the

possibility that they haven’t already bought 360 for a

reason. The Terrence Davies movie, also with Weisz, is the other

seeming fit. The rest feel a bit too violent or topical for the usual

tastes of the company… but who knows. Getting back to their one title, Tinker, Tailor, Soldier, Spy

opens in the UK on September 16, a couple of weeks after its Venice

fest premiere, and right in the midst of TIFF, where it will not be.

Will this strategy work? If the movie is truly great, there are few

rules that matter. If it is just good, it’s a decent indie hit with a

potential nomination for Gary Oldman, whose been blackballed in

Hollywood for most of the last decade.

Fox has their usual one title… which they will probably wait to

decide on in December and spend nothing but regular old theatrical

release dollars until they get excited – if there is heavy awards buzz

before opening – in December.

Fox Searchlight, which released Reitman’s first two movies to great

success, offers the clearest block to the O-tweener vote, the current

elder statesman of Oscar Dramedy, Alexander Payne. He returns with The Descendants,

which has it’s own odd blockade to overcome, The Dueling Clooneys.

Both Clooney films will be at Toronto and one of them will come out as

the top dog of the two. But they are tonally different, so maybe it’s a

two Clooney season. Searchlight also has Malick’s The Tree of Life, which they have built into a $12m summer grosser, this summer’s Winter’s Bone to Midnight in Paris‘ 2011 version of The KIds Are All Right.

(This summer’s indie hits will have each grossed double or more than

last year’s counterparts.) Also, though they have not announced it yet,

I expect John Madden’s The Best Exotic Marigold Hotel,

loaded with brilliant aging Brits, to join the race with a year-end

exclusive 2-coast release and a January expansion. (Harvey Style!!!!)

Paramount has a boatload of work in front of them in November and

December, just releasing four commercial movies. No doubt, they will

campaign all four. Only Mission:Impossible 4 is a complete non-starter (except for effects) in awards season. Is Hugo an Oscar movie or just a beautiful, commercial family film? Will Tintin

be another billion dollar worldwide hit and force its way into an Oscar

nomination? And Jason “Mr. Dramedy Oscar” Reitman’s latest, Young Adult,

driven by tour de force performances by Charlize Theron and Patton

Oswalt, become the Oscar tweener (35-50) favorite? It’s not hard to

imagine Paramount with two Best Picture nominations… or none… even if

all four movies are terrific. The mood of the room will be a lot.

WB has both an early frontrunner in Clint Eastwood’s Edgar J. and a late entry in the Stephen Daldry (all he makes are Oscar films!) film, Extremely Loud & Incredibly Close,

which threatens to remind us how big a star Tom Hanks still is when he

makes a movie people really want to see. (Sandra Bullock is a bit of a

draw as well. Ha!) The studio also has a couple industrial strength

commercial movies coming in the holiday season… but neither will

distract from the clear awards focus for these two films. In other

words, there is no Inception to leave them beating their head against an imaginary wall.

Sony is the most loaded company of them all. Three serious

contenders from the big studio. At least four serious players from the

Sony Classics division. The two operate separately, but wow… that’s a

wide load. Theories that SPC will push Whit Stillman’s latest into the

season persist, but they have the problem of too much of a good thing…

on top of what shouild be a very commercial Almodovar movie and their

usual load of foreign language contenders and with doc qualifying going

later this year, a chance to add even more contenders to their usual

selection.

Big Sony is letting Moneyball and The Ides of War

go at, releasing them within 2 weeks of each other and sending both to

Toronto. As with George and George competing, there is the possibility

that Brad and George can both go to the dance. But the tone out there

right now is Ides over Ball. The third horse is a film that I think is

one of the most underrated contenders of the season, The Girl With The Dragon Tattoo.

Working against it is that it was out just last year in a homegrown

incarnation and that it’s quite violent. On the other hand, it is right

in Fincher’s wheelhouse and the older audiences of The Academy have

read and loved the books, so they know what’s coming.

Sony Classics will get Woody Allen’s Midnight in Paris

over $50m domestic. A near lock for a nomination if they don’t fall

asleep at the wheel as the season goes on. They need to find a couple

of supporting actors to push hard and even if they don’t get

nominations, they will keep the BP push moving forward. The biggest

challenge they have is Jeff Nichols’ Take Shelter.

Nichols is an emerging major filmmaker with a great cast. But it feels

indie and it’s easy for those films to get lost (and win a bunch at

Indie Spirits). Their other two big titles, A Dangerous Method and Carnage,

are really films that make their own gravy… or don’t. Both have enough

star power, director power, critical interest, and commercial potential

that they will either muscle their way into the game or fade quickly.

Of course, if they are in the thick of the game, SPC will have to

prioritize and figure out which pieces to move in which direction.

Last, but certainly not least, is The Weinstein Company. Right now, it’s The Iron Lady and The Artist,

both of which are complicated sells, but could be turned into award

season magic tricks. Others will disagree, but I don’t see My Week With Marilyn, Coriolanus, or W.E.

as realistic Best Picture contenders. The company that brought us

Colin Firth’s first Oscar nomination a few months after picking up A Single Man at TIFF is, perhaps, in the best position to load up at the festival this year. Eye of the Storm, The Lady, and Shame all feel like movies that Harvey would know how to exploit better than anyone, pushing performance first.

Right now, I don’t see smaller indies like Roadside or Oscilloscope

with Best Picture horses to run. And I have no idea whether they want

to go down that road again this year. (Roadside’s Albert Nobbs

smells of a Glenn Close nomination and no more.) There’s also

Lionsgate waiting in the weeds. Rampart and Killer Joe each seem like

good fits for them. And FilmDistrict, which seems to be hiding The Rum Diary,

would also seem to be smart fits for those films, each of which has

Oscar pedigree, so even if there’s no Best Picture likelihood, FD could

score their first Oscar nods in their first year of business. Street

cred.

I think that covers the field at this point. One never knows when a

NatGeo or Magnolia will get the urge to go for it. But I have a list of

23 realistic Best Picture contenders… and of course, many of them won’t

be realistic for too much longer. It’s time to see most of the movies.

We’ll catch up after TIFF and before you know it, we’ll be 20 weeks away and you’ll be stuck with me every week.

Here’s the first chart of the season…

[/quote']

 

 

 

[Cremildo]

Palpites atualizados de Scott Feinberg:

 

Saturday, July 30, 2011

FLASH: AUGUST PROJECTIONS!

 

 

BEST PICTURE

 

Frontrunners

 

“J. Edgar” (Warner Brothers, 11/11, ?, ?)

 

“War Horse” (Disney, 12/28, ?, teaser)

 

“The Ides of March” (Sony, 10/14, ?, trailer)

 

“Extremely Loud and Incredibly Close” (Paramount/Warner Brothers, 12/25, ?, ?)

 

“The Descendants” (Fox Searchlight, 11/23, R, trailer)

 

“Carnage” (Sony Pictures Classics, 11/18, ?, ?)

 

“Midnight in Paris” (Sony Pictures Classics, 5/20, PG-13, trailer)

 

“Like Crazy” (Paramount Vantage, 10/28, PG-13, trailer)

 

“Tinker, Tailor, Soldier, Spy” (Focus Features, 11/18, ?, trailer)

 

“The Iron Lady” (The Weinstein Company, 12/6, ?, teaser)

Major Threats

 

“The Girl with the Dragon Tattoo” (Sony, 12/21, ?, trailer)

 

“Hugo” (Paramount, 11/23, ?, trailer)

 

“The Artist” (The Weinstein Company, 11/23, ?, trailer)

 

“We Bought a Zoo” (20th Century Fox, 12/23, ?, ?)

 

“A Dangerous Method” (Sony Pictures Classics, ?/?, ?, trailer)

 

“Moneyball” (Columbia, 9/23, ?, trailer)

 

“50/50” (Summit, 9/30, R, trailer)

 

“The Help” (Disney, 8/12, PG-13, trailer)

 

“Albert Nobbs” (Liddell Entertainment/Roadside Attractions, ?/?, ?, ?)

 

“The Way” (Icon Entertainment, 10/7, ?, ?)

 

“Contagion” (Warner Brothers, 9/9, ?, trailer)

 

“Coriolanus” (The Weinstein Company, 12/2, ?, ?)

 

“The Tree of Life” (Fox Searchlight, 5/27, PG-13, trailer)

 

Possibilities

 

“The Adventures of Tintin” (Paramount, 12/23, ?, trailer)

 

“Martha Marcy May Marlene” (Fox Searchlight, 10/7, ?, trailer)

 

“Take Shelter” (Sony Pictures Classics, 10/7, ?, ?)

 

“The Skin I Live In” (Sony Pictures Classics, 11/18, ?, trailer)

 

“Young Adult” (Paramount, ?/?, ?, 12/9)

 

“Super 8” (Paramount, 6/10, ?, trailer)

 

“One Day” (Focus Features, 8/19, PG-13, trailer)

 

“We Need to Talk About Kevin” (Oscilloscope, ?/?, ?, ?)

 

“Melancholia” (Magnolia, 11/4, ?,

)

 

“My Week with Marilyn” (The Weinstein Company, 11/4, ?, ?)

 

“The Rum Diary” (FilmDistrict, 10/28, ?, ?)

 

“Win Win” (Fox Searchlight, 3/18, R, trailer)

 

Still Seeking Domestic Distribution

 

“On the Road” (?, ?/?, ?, ?)

 

“Wuthering Heights” (?, ?/?, ?, ?)

BEST DIRECTOR

 

Frontrunners

 

Clint Eastwood (“J. Edgar”)

 

Steven Spielberg (“War Horse”)

 

George Clooney (“The Ides of March”)

 

Stephen Daldry (“Extremely Loud and Incredibly Close”)

 

Alexander Payne (“The Descendants”)

 

Major Threats

 

Roman Polanski (“Carnage”)

 

Woody Allen (“Midnight in Paris”)

 

David Fincher (“The Girl with the Dragon Tattoo”)

 

David Cronenberg (“A Dangerous Method”)

 

Martin Scorsese (“Hugo”)

 

Terrence Malick (“The Tree of Life”)

 

Michel Hazanavicius (“The Artist”)

 

Tomas Alfredson (“Tinker, Tailor, Soldier, Spy”)

 

Pedro Almodovar (“The Skin I Live In”)

 

Cameron Crowe (“We Bought a Zoo”)

 

Drake Doremus (“Like Crazy”)

 

Phyllida Lloyd (“The Iron Lady”)

 

Tate Taylor (“The Help”)

 

Possibilities

 

Steven Spielberg (“The Adventures of Tintin”)

 

Bennett Miller (“Moneyball”)

 

J.J. Abrams (“Super 8”)

 

Sean Durkin (“Martha Marcy May Marlene”)

 

Steven Soderbergh (“Contagion”)

 

Jason Reitman (“Young Adult”)

 

Lars von Trier (“Melancholia”)

 

Ralph Fiennes (“Coriolanus”)

 

Rodrigo Garcia (“Albert Nobbs”)

 

Jeff Nichols (“Take Shelter”)

 

Simon Curtis (“My Week with Marilyn”)

 

Bruce Robinson (“The Rum Diary”)

 

Lynne Ramsay (“We Need to Talk About Kevin”)

 

Tom McCarthy (“Win Win”)

 

Lone Scherfig (“One Day”)

 

Emilio Estevez (“The Way”)

 

Jonathan Levine (“50/50”)

 

Still Seeking Domestic Distribution

 

Andrea Arnold (“Wuthering Heights”)

 

Walter Salles (“On the Road”)

BEST ACTOR

 

Frontrunners

 

Leonardo DiCaprio (“J. Edgar”)

 

George Clooney (“The Descendants”)

 

Ryan Gosling (“The Ides of March”)

 

Gary Oldman (“Tinker, Tailor, Soldier, Spy”)

 

Jean Dujardin (“The Artist”)

 

Major Threats

 

Michael Fassbender (“A Dangerous Method”)

 

Matt Damon (“We Bought a Zoo”)

 

Michael Shannon (“Take Shelter”)

 

Brad Pitt (“Moneyball”)

 

Christoph Waltz (“Carnage”)

 

John C. Reilly (“Carnage”)

 

Joseph Gordon-Levitt (“50/50”)

 

Antonio Banderas (“The Skin I Live In”)

 

Johnny Depp (“The Rum Diary”)

 

Daniel Craig (“The Girl with the Dragon Tattoo”)

 

Ryan Gosling (“Drive”)

 

Anton Yelchin (“Like Crazy”)

 

Possibilities

 

Martin Sheen (“The Way”)

 

Sam Shepard (“Blackthorn”)

 

Ralph Fiennes (“Coriolanus”)

 

Jeremy Irvine (“War Horse”)

 

Thomas Horn (“Extremely Loud and Incredibly Close”)

 

Asa Butterfield (“Hugo”)

 

Rhys Ifans (“Anonymous”)

 

Paul Giamatti (“Win Win”)

 

Ewan McGregor (“Beginners”)

 

Brad Pitt (“The Tree of Life”)

 

Eddie Redmayne (“My Week with Marilyn”)

 

Jim Sturgess (“One Day”)

 

Dominic Cooper (“The Devil’s Double”)

 

Demian Bichir (“A Better Life”)

 

Michael Sheen (“Beautiful Boy”)

 

Still Seeking Domestic Distribution

 

Michael Fassbender (“Shame”)

 

Sean Penn (“This Must Be the Place”)

BEST ACTRESS

 

Frontrunners

 

Meryl Streep (“The Iron Lady”)

 

Glenn Close (“Albert Nobbs”)

 

Felicity Jones (“Like Crazy”)

 

Michelle Williams (“My Week with Marilyn”)

 

Rooney Mara (“The Girl with the Dragon Tattoo”)

 

Major Threats

 

Elizabeth Olsen (“Martha Marcy May Marlene”)

 

Kate Winslet (“Carnage”)

 

Jodie Foster (“Carnage”)

 

Tilda Swinton (“We Need to Talk About Kevin”)

 

Rachel Weisz (“The Whistleblower”)

 

Kirsten Dunst (“Melancholia”)

 

Emma Stone (“The Help”)

 

Charlize Theron (“Young Adult”)

 

Possibilities

 

Andrea Riseborough (“W.E”)

 

Anne Hathaway (“One Day”)

 

Kristin Scott Thomas (“Sarah’s Key”)

 

Mia Wasikowska (“Jane Eyre”)

 

Emily Watson (“Oranges and Sunshine”)

 

Maria Bello (“Beautiful Boy”)

 

Ellen Barkin (“Another Happy Day”)

 

Helen Mirren (“The Debt”)

 

Still Seeking Domestic Distribution

 

Frances McDormand (“This Must Be the Place”)

 

Carey Mulligan (“Shame”)

 

Katie O’Grady (“Rid of Me”)

 

Michelle Williams (“Take This Waltz”)

BEST SUPPORTING ACTOR

 

Frontrunners

 

Christopher Plummer (“Beginners”)

 

Kenneth Branagh (“My Week with Marilyn”)

 

Philip Seymour Hoffman (“The Ides of March”)

 

Viggo Mortensen (“A Dangerous Method”)

 

John Hawkes (“Martha Marcy May Marlene”)

 

Major Threats

 

Jim Broadbent (“The Iron Lady”)

 

Ezra Miller (“We Need to Talk About Kevin”)

 

Albert Brooks (“Drive”)

 

Armie Hammer (“J. Edgar”)

 

Jeffrey Wright (“Extremely Loud and Incredibly Close”)

 

Tom Hanks (“Extremely Loud and Incredibly Close”)

 

Thomas Haden Church (“We Bought a Zoo”)

 

Aaron Johnson (“Albert Nobbs”)

 

Jonathan Rhys Meyers (“Albert Nobbs”)

 

Possibilities

 

Ben Kingsley (“Hugo”)

 

Philip Seymour Hoffman (“Moneyball”)

 

Patton Oswalt (“Young Adult”)

 

Vincent Cassel (“A Dangerous Method”)

 

George Clooney (“The Ides of March”)

 

Paul Giamatti (“The Ides of March”)

 

Jude Law (“Hugo”)

 

Richard Jenkins (“The Rum Diary”)

 

Aaron Eckhart (“The Rum Diary”)

BEST SUPPORTING ACTRESS

 

Frontrunners

 

Keira Knightley (“A Dangerous Method”)

 

Mia Wasikowska (“Albert Nobbs”)

 

Naomi Watts (“J. Edgar”)

 

Marisa Tomei (“The Ides of March”)

 

Judi Dench (“J. Edgar”)

 

Major Threats

 

Vanessa Redgrave (“Coriolanus”)

 

Sandra Bullock (“Extremely Loud and Incredibly Close”)

 

Scarlett Johansson (“We Bought a Zoo”)

 

Emily Watson (“War Horse”)

 

Viola Davis (“The Help”)

 

Octavia Spencer (“The Help”)

 

Jessica Chastain (“Take Shelter”)

 

Chloe Moretz (“Hugo”)

 

Evan Rachel Wood (“The Ides of March”)

 

Sarah Gadon (“A Dangerous Method”)

 

Vanessa Redgrave (“Anonymous”)

 

Judi Dench (“My Week with Marilyn”)

 

Possibilities

 

Alexandra Roach (“The Iron Lady”)

 

Anna Kendrick (“50/50”)

 

Robin Wright (“Moneyball”)

 

Emily Mortimer (“Hugo”)

 

Janet McTeer (“Albert Nobbs”)

 

Charlotte Rampling (“Melancholia”)

 

Elle Fanning (“Super 8”)

 

Elle Fanning (“We Bought a Zoo”)

 

Stephanie Szotak (“We Bought a Zoo”)

 

Shailene Woodley (“The Descendants”)

 

Amara Miller (“The Descendants”)

 

Lea Thompson (“J. Edgar”)

 

Demi Moore (“Another Happy Day”)

 

Still Seeking Domestic Distribution

 

Amy Adams (“On the Road”)

 

Judy Davis (“The Eye of the Storm”)

 

Kirsten Dunst (“On the Road”)

 

Charlotte Rampling (“The Eye of the Storm”)

 

Kristen Stewart (“On the Road”)

 

Orianna Herrman (“Rid of Me”)

BEST ADAPTED SCREENPLAY

 

Frontrunners

 

Richard Curtis, Lee Hall (“War Horse”)

 

George Clooney, Grant Heslov (“The Ides of March”)

 

Eric Roth (“Extremely Loud and Incredibly Close”)

 

Alexander Payne, Nat Faxon, Jim Rash (“The Descendants”)

 

Roman Polanski (“Carnage”)

 

Major Threats

 

Steven Zaillian (“The Girl with the Dragon Tattoo”)

 

Bridget O’Connor, Peter Straughan (“Tinker, Tailor, Soldier, Spy”)

 

Christopher Hampton (“A Dangerous Method”)

 

Aaron Sorkin, Steven Zaillian (“Moneyball”)

 

Cameron Crowe, Aline Brosh McKenna (“We Bought a Zoo”)

 

John Logan (“Hugo”)

 

Tate Taylor (“The Help”)

 

Possibilities

 

Pedro Almodovar (“The Skin I Live In”)

 

John Logan (“Coriolanus”)

 

Rory Kinnear, Lynne Ramsay (“We Need to Talk About Kevin”)

 

Lars von Trier (“Melancholia”)

 

Bruce Robinson (“The Rum Diary”)

 

David Nicholls (“One Day”)

 

Eric Eason (“A Better Life”)

 

Still Seeking Domestic Distribution

 

Olivia Hetreed (“Wuthering Heights”)

 

Jose Rivera (“On the Road”)

BEST ORIGINAL SCREENPLAY

 

Frontrunners

 

Dustin Lance Black (“J. Edgar”)

 

Drake Doremus, Ben York Jones (“Like Crazy”)

 

Michel Hazanavicius (“The Artist”)

 

Woody Allen (“Midnight in Paris”)

 

Abi Morgan (“The Iron Lady”)

 

Major Threats

 

Sean Durkin (“Martha Marcy Mae Marlene”)

 

Terrence Malick (“The Tree of Life”)

 

John Banville, Glenn Close (“Albert Nobbs”)

 

Jeff Nichols (“Take Shelter”)

 

Scott Z. Burns (“Contagion”)

 

Tom McCarthy, Joe Tiboni (“Win Win”)

 

Possibilities

 

Diablo Cody (“Young Adult”)

 

Emilio Estevez (“The Way”)

 

Adrian Hodges (“My Week with Marilyn”)

 

J.J. Abrams (“Super 8”)

 

Mike Mills (“Beginners”)

 

Sam Levinson (“Another Happy Day”)

 

Still Seeking Domestic Distribution

 

James Westby (“Rid of Me”)

BEST ANIMATED FILM (FEATURE)

 

Frontrunners

 

“The Adventures of Tintin” (Paramount, 12/23, ?, trailer)

 

“Rango” (Paramount, 3/4, PG, trailer)

 

“Happy Feet 2” (Warner Brothers, 11/18, ?, ?)

 

“Cars 2” (Disney, 6/24, not yet rated, trailer)

 

“Rio” (20th Century Fox, 4/15, G, trailer)

 

Major Threats

 

“Arthur Christmas” (Sony, 11/23, ?, trailer)

 

“Alvin and the Chipmunks: Chip-Wrecked” (20th Century Fox, 12/11, ?, ?)

 

“Winnie the Pooh” (Disney, 7/15, G, trailer)

 

Possibilities

 

“Kung Fu Panda 2” (DreamWorks, 5/26, PG, trailer)

 

“Puss in Boots” (DreamWorks, 11/4, ?, trailer)

 

“The Smurfs” (Sony, 7/29, ?, trailer)

 

“The Lion of Judah” (Animated Family Films, 6/3, ?, trailer)

 

Still Seeking Domestic Distribution

 

“The Dreaming Machine” (?, ?/?, ?, ?)

 

“The Rabbi’s Cat” (?, ?/?, ?, trailer)

 

“Tales of the Night” (?, ?/?, ?, ?)

 

 

 

[D4rk-Schn31d3r]

 

rise of the planet of the apes com 81% no RT, mas com 69 no metacritic

 

parece q não tem força p/ ser indicado a melhor filme, agora efeitos especiais e principalmente maquiagem pode ter alguma chance

 

feinberg apostando em tintin? não é inelegível? e não são apenas 3 vagas?

 

toronto é antes de veneza?

 

espero q o festival do rio esse ano venha tudo isso, pq ano passado ...

 

 

D4rk Schn31d3r2011-08-08 00:18:12

[Cremildo]

 

feinberg apostando em tintin? não é inelegível? e não são apenas 3 vagas?

 

 

 

 

É inelegível, de acordo com as regras, mas na seção de comentários de uma postagem anterior Feinberg disse que acha que a Academia vai relevar porque animações em mo-cap estão se tornando cada vez mais comuns. Ou seja, é uma previsão sem fundamento.

 

[FeCamargo]

OFF:

 

Hoje eu vi o Brothers do Jim Sheridan e fiquei surpreso. Gostei do filme. Esperava nada e me surpreendi. Só acho que o Tobey Maguire tá um tanto teatral no papel, o que prejudica o filme. A personagem da Natalie Portman também é um tanto indefinida e mal aproveitada pelo roteiro até o meio do filme, depois melhora. Mas definitivamente um filme interessante.

 

E a menininha, a filha mais velha de Natalie é fodona. Que atriz é essa... 6 anos?

 

 

 

[leomaran]

OFF:

Hoje eu vi o Brothers do Jim Sheridan e fiquei surpreso. Gostei do filme. Esperava nada e me surpreendi. Só acho que o Tobey Maguire tá um tanto teatral no papel' date=' o que prejudica o filme. A personagem da Natalie Portman também é um tanto indefinida e mal aproveitada pelo roteiro até o meio do filme, depois melhora. Mas definitivamente um filme interessante.

E a menininha, a filha mais velha de Natalie é fodona. Que atriz é essa... 6 anos?
[/quote']

 

Também gostei bastante desse, inclusive do Tobey Maguire. Quando assisti, nem tinha ouvido falar do filme, o que aumentou a surpresa. Tem uma história bem amarrada e que realmente prende a atenção.

[FeCamargo]

 

E de brinde surpresa, tem a minha mais nova queridinha, Carey Mulligan numa cena ótima! É tipo, me ganhar pela barriga! 

 

 

FeCamargo2011-08-08 20:30:50