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SergioBenatti

Oscar 2020: Previsões

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Tópico para ansiosos. Tópico para fanáticos. Tópico para apostadores. Tópico para quem ama cinema. Tópico de tradição do site Cinema em Cena. Acompanharemos mais uma temporada de festivais, prêmios de crítica, polêmicas sociais, números de bilheterias, e o eterno duelo cinema de prosa versus cinema de poesia. O que veremos neste ano? Quais filmes chegarão lá? Surpresa, ou frustração, quem sairá com uma das cobiçadas estatuetas douradas nas mãos?

Com a ajuda dos sites IMDB, Awards Daily, do texto e pesquisa deste que vos escreve, e, sobretudo, das informações e texto do excelente Termometrooscar (os quais tive de corrigir equívocos em muitos casos), eis a lista de alguns dos prováveis contendores:

 

THE IRISHMAN: Diretor: Martin Scorsese Elenco: Robert De Niro, Al Pacino, Joe Pesci, Harvey Keitel, Ray Romano, Anna Paquim e Jesse Plemons. 

Conhecido como "O Irlandês", Frank Sheeran é um veterano de guerra cheio de condecorações que concilia a vida de caminhoneiro com a de assassino de aluguel número um da máfia. Promovido a líder sindical, ele torna-se o principal suspeito quando o mais famoso ex-presidente da associação desaparece misteriosamente. Palavra do momento: Netflix.

1917: Diretor: Sam Mendes Elenco: George Mackay, Mark Strong, Benedic Cumberbatch, Richard Madden.

Trama desconhecida, mas é "sobre" a Primeira Guerra Mundial.

A BEAUTIFUL DAY IN THE NEIGHBORHOOD: Diretor: Marielle Heller Elenco: Tom Hanks, Matthew Rhys

Cinebiografia sobre um apresentador de um programa infantil muito popular da tv na década de 1960.

AD ASTRA: Diretor: James Gray Elenco: Brad Pitt, Tommy Lee Jones, Ruth Negga.

A busca de um filho engenheiro espacial por um pai que se perdeu no caminho para Netuno.

ADORÁVEIS MULHERES: Diretora: Greta Gerwig Elenco: Saoirse Ronan, Laura Dern, Florence Pugh, Meryl Streep, Timothée Chalamet

Uma casa repleta de mulheres em busca da maturidade emocional, durante a Guerra Civil americana.

CORINGA: Diretor: Todd Phillps Elenco: Joaquin Phoenix, Robert de Niro.

No popular, a história de surgimento do inimigo de Batman, o Coringa.

CATS: Diretor: Tom Hooper Elenco: Ian McKellen, Jennifer Hudson, Taylor Switt, Idris Elba, James Corden, Judi Dench.

A tribo de gatos - Cats - conta sua história para um velho líder. Musical.

DOLOR Y GLORIA: Diretor: Pedro Almodóvar Elenco: Penélope Cruz, Antônio Banderas, Cecilia Roth.

Um diretor de cinema em crise reflete sobre sua trajetória.

DOWNTON ABBEY: Diretor: Michael Engler Elenco: Maggie Smith, Michelle Dockery, Hugh Boneville.

Adaptação da espetacular série de televisão, que conta a trajetória da aristocrática família Crawley enquato a Inglaterra rapidamente se transforma economicamente e nos costumes.

ERA UMA VEZ EM HOLLYWOOD: Diretor: Quentin Tarantino Elenco: Brad Pitt, Leonardo DiCaprio, Al Paccino, Margot Robbie.

A história real do assassinato da atriz Sharon Tate pelos membros do culto de Charles Manson, na ótica de Tarantino.

FORD VS. FERRARI: Diretor: James Mangold Elenco: Christian Bale, Matt Damon, Tracy Letts.

Drama esportivo sobre a corrida de Le Mans em 1966, em que a montadora Ford tenta superar a Ferrari.

FROZEN II: Diretor: Chris Buck e Jennifer Lee Elenco: vozes de Kristen Bell, Idina Menzel, Sterling k. Brown

Anna, Elza, e Olaf desbravam a floresta para solucionar um antigo mistério do reino.

GEMINI MAN: Diretor: Ang Lee Elenco: Will Smith, Clive Owen.

O melhor assassino do mundo está ficando velho e menos confiável. Deve ser eliminado pelo seu clone mais novo e e mais forte.

JOJO RABBIT: Diretor: Taika Waititi Elenco: Taika Waititi, Sam Rockwell, Thomasin Mackenzie, Scarlett Johansson.

Um jovem judeu está sendo escondido pela mãe de outro jovem, este, o filho, militante da Juventude Hitlerista. 

LUCE: Diretor: Julius Onah Elenco: Octavia Spencer, Tim Roth, Naomi Watts

A adoção de um jovem da Eritréia guarda inúmeros segredos.

US: Diretor: Jordan Peele Elenco: Lupita Nyongò, Elisabeth Moss, Winston Duke.

Uma família é confrontada por seus clones durante um fim de semana.

O REI LEÃO: Diretor: Jon Favreau Elenco: vozes de Donald Glover, Byonce, Seth Rogen.

Simba, o rei da selva; animação clássica da Disney agora em versão dita Live-action.

STAR WARS: A ASCENSÃO DE SKYWALKER  Diretor: J. J Abrams Elenco: Adam Driver, John Boyega, Daisy Ridley, Oscar Isaac.

Em uma galáxia muito, muito distante...

THE GOLDFINCH: Diretor: John Crowley Elenco: Ansel Elgort, Nicole Kidman, Sarah Paulson, e Finn Wolfhard.

Um atentado terrorista em um museu mata a mãe de um menino. Mas ele leva algo de recordação. Para a vida toda. Adaptação do romance excepcional de Donna Tartt, vencedor do Pulitzer.

THE GOOD LIAR: Diretor: Bill Condon Elenco: Helen Mirren, Ian McKellen.

A amizade entre um artista pobre e uma viúva rica.

THE KING: Diretor: David Michôd Elenco: Timothée Chalamet, Robert Pattinson, Joel Edgerton, Ben Mendelsohn.

O jovem Henrique V é coroado rei e obrigado a comandar a Inglaterra durante a Guerra dos 100 anos.

HARRIET: Diretora: Kasi Lemmons Elenco: Cynthia Erivo, Joe Alwyn, Janelle Monae.

A vida da grande heroína negra dos Estados Unidos, que liderou e libertou dezenas de escravos. 

THE LAST THING HE WANTED: Diretora: Dee Rees Elenco: Anne Hathaway, Ben Affleck, Willem Dafoe.

Adaptação do romance homônimo de Joan Didion, que conta a história de uma jornalista que a abandona a cobertura da campanha presidencial para ir ajudar o pai em um acordo sórdido.

THE LAUNDROMAT: Diretor: Steven Soderbergh Elenco: Meryl Streep, Gary Oldman, David Schwimmer.

O escândalo da empresa de advocacia Mossack Fonseca. Lavagem de dinheiro. 

THE REPORT: Diretor: Scott Z. Burns Elenco: Adam Driver, Matthew Rhys, Annette Bening, Tim Blake Nelson.

Rescaldo do Onze de Setembro: uso de interrogações extremas por agentes da CIA.

À ESPERA DOS BÁRBAROS: Diretor: Ciro Guerra Elenco: Johnny Deep, Mark Rylance, Robert Pattinson.

Um Juiz de um vilarejo recebe ordens de ir à guerra e matar os vizinhos bárbaros. Mas quem eles são? Onde estão? Adaptação do excepcional romance do Nobel J.M. Coetzee.

THE WOMAN IN THE WINDOW: Diretor: Joe Wright Elenco: Amy Adams, Julianne Moore, Gary Oldman.

Uma médica, reclusa em casa, passa seus dias observando os vizinhos, enquanto também se distrai com filmes antigos de suspense. Uma cena chocante baterá a sua porta. Ou à sua janela.

VINGADORES: ULTIMATO: Diretor: Joe e Anthony Russo Elenco: Mark Ruffalo, Chris Pratt, Robert Downey JR, Brie Larson, Josh Brolin

Final da saga da Marvel, nesse filme que promete ser o arrasa-quarteirão do ano.

TOY STORY 4: Diretor: Josh Cooley Elenco: vozes de Tom Hanks, Patricia Arquette, Tim Allen, Laurie Metcalf

Com uma nova dona, Woody, Buzz e o resto da turma receberá um novo integrante: um garfo transformado em brinquedo com crise de identidade.

CADÊ VOCÊ, BERNADETTE?: Diretor: Richard Linklater Elenco: Cate Blanchett, Kristen Wiig, Laurence Fishburne.

Uma mãe excêntrica e talentosa simplesmente desaparece de casa. Sua filha e a vizinha, invejosa e cômica, por motivos diversos, tentarão encontrá-la.

 

 

AND THE OSCAR GOES TOO...

 

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Minha conhecida obsessão pelo Oscar instiga-me a ler os livros a serem adaptados para as telas.  Todo ano neste fórum faço um exercício de comparação entre literatura e cinema, e o que pode advir em matéria de Oscar.  Eis o que tenho a dizer, sem Spoiler!,  sobre:

The Goldfinch: livro "O Pintassilgo", Autora: Donna Tartt. Editora: Companhia das Letras. 792 páginas. Mais ou menos $51.

Donna Tartt é uma das minhas escritoras prediletas: reclusa, estranha, lindíssima, talento nato. Apenas 3 livros. Um livro a cada década. Uma obra-prima a cada década. Este "O Pintassilgo" ganhou o Pulitzer. Os críticos brasileiros não gostaram muito, vejam só, ou seja: Podem ler sem medo! Como literatura, é fenomenal. A descrição da adolescência do personagem protagonista, em Los Angeles, ao lado de seu amigo russo; maloqueiro; bêbado; inteligentíssimo; sexualizado a mais não poder; é simplesmente magnífica. Podem anotar a indicação para o "Stranger Things" e talentosíssimo Finn Wolfhard. Sarah Paulson pegou um papel incrível também, da madrasta, dançarina, drogada, sexy e inescrupulosa. Ansel Elgort, o protagonista, num papel dificílimo de anti-herói.

Chances de Oscar: Filme, Diretor, Ator Coadjuvante, Atriz Coadjuvante, Roteiro Adaptado, Fotografia (Deakins!).

Waiting For the Barbarians: livro "À Espera dos Bárbaros", Autor: J.M. Coetzee. Editora: Companhia das Letras: 208 páginas. Mais ou menos $41.

Um magistrado sem nome, justo e nobre administrador de um lugarejo isolado, recebe ordens para encontrar, castigar, e matar os vizinhos bárbaros, acusados de sedição. Mas quem eles são? Onde moram? Existem sequer? Um livro excepcional, de um Nobel, que deveria ser duas vezes Nobel, o sul-africano J.M Coetzee. Ninguém está falando desse filme, ou desse livro. Porque ninguém se interessou a lê-lo. Mas quando você fecha as páginas, você percebe o material poderoso que tem nas mãos. A meu ver, indicação, e chance de vitória, para Mark Rylance, num papel perfeito, à sua feição. Depp tem um papel bom, mas muito menor. A atriz coadjuvante, Gana Bayarsaikhan, recebeu o papel da vida dela.

Chances de Oscar: Filme, Diretor, Atriz Coadjuvante, Roteiro Adaptado, Ator, Fotografia.

The Woman in the Window: livro "A Mulher na Janela", Autor: A. J. Finn. Editora: Arqueiro; 352 páginas. Mais ou menos $36

Não recomendo a leitura. É mais um texto de entretenimento, apenas razoável, mas que vendeu milhões, como pura "literatura de resposta". Uma mulher, com problemas com álcool, infeliz, que consegue enxergar a distância um crime em uma casa da vizinhança. Uma mistura de "A Garota no Trem" com "Janela Indiscreta". De qualquer forma, todos os analistas enxergam Amy Adams como possível indicada. Eu também, mas a uma distante quinta vaga, se bobear. A meu ver, as chances de Framboesa de Ouro são muito maiores.

Chances de Oscar: Atriz.

Where`d You Go Bernadette?: livro "Cadê você, Bernadette?", Autora: Maria Semple. Editora: Companhia das Letras. 376 páginas. Mais ou menos, $ 48.

Um livro hilário. Conta com uma protagonista misteriosa, desbocada, excêntrica, inteligente, que desaparece misteriosamente. Literatura de entretenimento, muito bem executada. Eu particularmente não sei de quem eu ri mais, se foi da personagem da Cate Blachette ou da personagem da Kristen Wiig. Indicações ao Globo de Ouro de comédia estão certas. A personagem da Cate Blanchette, como se nota, desaparece em parte importante da história, logo... 

A competição em Roteiro Adaptado estará fortíssima, então Linklater tem poucas chances de entrar.

Chances de Oscar: Atriz (se a temporada for fraca), Atriz Coadjuvante, Roteiro Adaptado (diminutas).

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PREVISÕES ABRIL/2019 

BEST PICTURE
1. A Beautiful Day in the Neighborhood
2. Once Upon a Time in Hollywood
3. Harriet
4. The Goldfinch
5. The Irishman
6. 1917
7. Downton Abbey
8. Waiting For the Barbarians
9. The Lion King
10. Avengers: EndGame

BEST DIRECTOR
1. Quentin Tarantino - Once Upon a Time in Hollywood
2. Martin Scorsese - The Irishman
3. Kasi Lemmons- Harriet
4. Ciro Guerra - Waiting For the Barbarians
5. Marielle Heller - A Beautiful Day in the Neighborhood

BEST ACTOR
1. Mark Rylance - Waiting for The Barbarians
2. Christian Bale - Ford vs. Ferrari
3. Leonardo DiCaprio - Once Upon a Time in Hollywood
4. Matthew Rhys- A Beautiful Day in the Neighborhood
5. Robert de Niro - The Irishman

BEST ACTRESS
1. Cynthia Erivo - Harriet
2. Helen Mirren - The Good Liar
3. Alfre Woodard - Clemency
4. Meryl Streep - The Laundromat
5. Amy Adams - The Woman in the Window

BEST SUPPORTING ACTOR
1. Tom Hanks - A Beautiful Day in the Neighborhood
2. Brad Pitt - Once Upon a Time in Hollywood
3. Ian Mckellen - The Good Liar
4. Al Pacino - The Irishman
5. Finn Wolfhard - The Goldfinch

BEST SUPPORTING ACTRESS
1. Sarah Paulson - The Goldfinch
2. Margot Robbie - Once Upon a Time in Hollywood
3. Maggie Smith - Downton Abbey
4. Annette Bening - The Report 

5. Scarlett Johansson - Jojo Rabbit

BEST ORIGINAL SCREENPLAY
1. Harriet
2. Once Upon a Time in Hollywood
3. The Report
4  Us
5. Pain & Glory

BEST ADAPTED SCREENPLAY
1. A Beautiful Day in the Neighborhood
2. The Goldfinch
3. The Irishman
4. Jojo Rabbit
5. Downtow Abbey

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(Continuando)

BEST CINEMATOGRAPHY
1. Harriet - John Toll
2. Once Upon a Time in Hollywood - Robert Richardson
3. The Irishman - Rodrigo Prieto
4. The Goldfinch - Roger Deakins
5.  Waiting For the Barbarians - Chris Menges

BEST COSTUME DESIGN
1. Once Upon a Time in Hollywood - Arianne Phillips
2. Downton Abbey - Anna Mary Scott Robbins
3. Little Women - Jacqueline Durran
4. 1917 - Jacqueline Durran
5. The Irishman - Sandy Powell


BEST PRODUCTION DESIGN 
1. Once Upon a Time in Holywood - Barbara Ling e Nancy Haigh
2. 1917 - Dennis Gassner
3. A Beautiful Day in the Neighborhood - Jade Healey e Merissa Lombardo
4. Downton Abbey - Donal Woods
5. The Irishman - Bob Shaw

BEST FILM EDITING
1. 1917 - Lee Smith
2. The Goldfinch- Kelley Dixon
3. The Irishman - Thelma Schoonmaker
4. Harriett  - Wyatt Smith
5. Ford Vs Ferrari - Michael McCusker

BEST VISUAL EFFECTS
1. Avengers: Endgame
2. Star Wars: The Rise of Skywalker
3. Ad Astra
4. Gemini Man
5. The Lion King

BEST MAKE UP AND HAIRSTYLING
1. Avengers: Endgame
2. The King
3. Rocketman 

4. Downton Abbey   

5. Jojo Rabbit                                                                                                                                                                                                                                                           

BEST ORIGINAL SCORE
1. Harriet - Terence Blanchard
2. 1917 - Thomas Newman
3. Avengers: Endgame - Alan Silvestri
4. Ad Astra - Max Richter
5. Randy Newman - Toy Story 4

BEST SOUND MIXING
1. Avengers: Endgame
2. 1917
3. Ad Astra
4. Star Wars: The Rise of Skywalker
5. Ford Vs Ferrari


BEST SOUND EDITING
1.Avengers: Endgame
2. 1917
3. Ad Astra
4. Star Wars: The Rise of Skywalker
5. The Lion King

BEST SONG
1. "(I´ M Gonna) Love Me again" - Elton John - Rocketman
2. ...
3. ...
4. ...
5. ...

BEST ANIMATED FEATURE
1. The Lion King (???)
2. Toy Story 4
3. How to Train Your Dragon: The Hidden World
4. Klaus
5. Missing Link

BEST INTERNACIONAL FEATURE FILM
1. Pain & Glory - Spain
2. ...
3. ...
4. ...
5. ...

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Breves comentários:

Não existe competição em Atriz! Os americanos querem colocar a heroína escrava até em alguma cédula. Os outros quatro nomes são apenas protocolares. Finalmente a Academia aumentou as vagas para a categoria de Maquiagem e Penteado. A categoria de Filme Estrangeiro mudou de nome: Melhor Filme Internacional (Depois de Cannes, saberemos os outros 4, e pode pintar Brasil). Torcendo muito para a estrondosa bilheteria e repercussão midiática de "Vingadores: Ultimato" ajudar a elevar as chances do filme em várias categorias. Não acredito muito em "Us", Lupita quase entrou na minha lista, mas vejo o filme no momento perdendo força... Não sei se "The Lion King" vai conseguir passar pelos critérios de animação, fazendo tanta força para não ser chamado de animação. É estranho.

Chegou a hora da direção de Tarantino ser reconhecida.

Sarah Paulson e Mark Rylance são coisa minha...Li os livros, que ninguém leu, e sei da força dos respectivos papeis. Nenho outro Oscarmaníaco os coloca em suas listas.

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MELHOR FILME DO ANO!!!!

As atualizações de melhor filme do ano foram atualizadas...

Estou completamente apaixonado pela esperteza, pela inteligência, pela capacidade dos irmãos Russo em conseguirem lidar com tanta complexidade, com tantas expectativas, com tantos desafios! 

Que Roteiro!! Drama, comédia, exibições de personalidade, construção de destinos, tudo perfeito! Mas, pra mim, os primeiros 40 minutos, resolvendo logo de cara o "problema" , e saltando no tempo, mostrando a questão individual do luto, a dor calada, a resignação, ou não, como a vida foi pra frente para alguns heróis, e para outros não... Estou encantado! Esse começo mais lento quebrou minhas expectativas, levou o filme pra outro lugar: o lugar da humanidade dos personagens ! Que coisa maravilhosa! Estou encantado!

A parte final, a luta final, me deixou arrepiado, só enxergo semelhança com o final de "O Senhor dos Anéis: O Retorno do Rei". Mas foram os momentos de interação entre os personagens que mais me tocaram. Mini Spoiler: * O reencontro com pais, mães, amores, enfim, maravilhoso, mas mais que isso, o reencontro com momentos de outros filmes, foi maravilhoso! Dá um sentido de pertencimento pro espectador... 

Os atores estão estupendos! Dá pra sentir o quanto eles amaram (seus cachês e) seus personagens! Mark Ruffalo brilhante, Robert Downey Jr brilhante, Jeremy Renner brilhante, Chris Hemsworth brilhante...Em alguns momentos, eu fiquei de fato emocionado. E que finalização elegante, serena, de gabarito, e profunda! Estou encantado! E repetitivo.

Som, montagem, fotografia,Trilha, roteiro, roteiro, roteiro, maquiagem, e direção...Quero esse filme no Oscar 2020, em todas as categorias.

Obrigado, Marvel!!! Só cineasta brasileiro pra não gostar.

Don Cheadle, Robert Downey Jr., Josh Brolin, Bradley Cooper, Chris Evans, Scarlett Johansson, Brie Larson, Jeremy Renner, Paul Rudd, Mark Ruffalo, Chris Hemsworth, Danai Gurira, and Karen Gillan in Avengers: Endgame (2019)

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Alguns dados sobre a bilheteria estrondosa:

All the records it broke:

DOMESTIC
Biggest opening weekend – $350M
First film to cross $300M opening weekend
Fastest film to $100M – 17 hours
Highest Thursday previews – $60M
Biggest single day – $156.7M (April 26)
Biggest all-time Saturday – $109M (April 27)
Biggest all-time Sunday – $84.3M (April 28)
Widest release ever – 4,662 theaters
Biggest IMAX Marvel opening weekend – $26.5M

GLOBAL
Biggest opening weekend – $1.209B
First film to cross $1B on opening weekend – $1.209B
Fastest film to $1B – 5 days
Biggest IMAX opening weekend – $91.5M
Highest 3D opening weekend – $540M

INTERNATIONAL
Biggest opening weekend ever – $859M (54 material markets)

China
Biggest opening weekend – $330.5M (RMB 2.22B)
Biggest opening day – $107.8M (RMB 725M, including midnights)
Biggest single day, excluding midnights – $81.7M (RMB 550M)
Fastest film to RMB 2B
Biggest IMAX opening – $42.4M

Highest opening weekend ever – Australia, Korea, Brazil, Mexico, UK, Argentina, Spain, Austria, Bahrain, Belgium, Bosnia/Herzegovina, Croatia, Czech Republic, Denmark, East Africa, Egypt, Hungary, Iceland, Jordan, Middle East, Netherlands, Norway, Qatar, Saudi Arabia, Serbia, Slovakia, Slovenia, South Africa, Syria, UAE, Ukraine, West Africa, Hong Kong, Taiwan, Indonesia, Malaysia, Philippines, Singapore, Thailand, Vietnam, New Zealand, Bolivia, Central America, Chile, Colombia, Ecuador, Paraguay, Peru, Trinidad, Uruguay, France (admissions/non-local), Italy (non-local), Turkey (non-local), India (Western)

Highest industry single-day grosses – Australia, Korea, Thailand, New Zealand, Hong Kong, Taiwan, Indonesia, Malaysia, Philippines, Singapore, India (Western), Vietnam, Brazil, Mexico, Argentina, Bolivia, Central America, Chile, Colombia, Ecuador, Paraguay, Peru, Trinidad, Uruguay, Spain, UK, Hungary and Ukraine

Highest opening weekend in Asia-Pacific – $545M
Highest opening weekend in Latin America – $100M
Highest opening weekend in Europe/Middle East – $214M

Biggest IMAX opening weekend – China, UAE, Austria, Belgium, Bulgaria, Bahrain, Switzerland, Germany, Finland, France, Greece, Israel, Italy, Czech, Lebanon, Latvia, Norway, Nigeria, Oman, Portugal, Qatar, Saudi Arabia, Slovakia, Turkey, Ukraine, South Africa, Japan, Hong Kong, Taiwan, Philippines, India, Thailand, Malaysia, Singapore, New Zealand, Vietnam, Pakistan, Mongolia, Cambodia, Argentina, Brazil, Chile, Colombia, Costa Rica, Dominican Republic, Ecuador, Guatemala, Mexico, Panama and Puerto Rico

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Weekend Results
1. Avengers: Endgame – $145.8 million (!!!!)
2. The Intruder – $11 million
3. Long Shot – $10.02 million
4. Uglydolls – $8.51 million
5. Captain Marvel – $4.27 million

 

Endgame now #2 globally grossing movie of all time, passing “Titanic” ($2.188 b in just 11 days). Now at $620m domestic (#9 all-time).

The $2 billion global club:
1. Avatar $2.78b (2b reached in 47 days)
2. Endgame $2.188b
3. Titanic $2.187b
4. Star Wars: The Force Awakens $2.06b
5. Avengers: Infinity War $2.04b

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Weekend Results
1. Avengers: Endgame – $63.05 million
2. Pokemon Detective Pikachu – $58 million
3. The Hustle – $13.53 million
4. The Intruder – $6.6 million
5. Long Shot – $6.12 million

 

Avengers: End Game Global: $2.485.5 billion, now just $302 million behind Avatar.

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On 5/12/2019 at 6:57 PM, SergioBenatti said:

Weekend Results
1. Avengers: Endgame – $63.05 million
2. Pokemon Detective Pikachu – $58 million
3. The Hustle – $13.53 million
4. The Intruder – $6.6 million
5. Long Shot – $6.12 million

 

Avengers: End Game Global: $2.485.5 billion, now just $302 million behind Avatar.

Fico pensando, o avatar foi esse monstro mesmo?

Ou tinham poucas opções no formato e deixaram eternamente em cartaz?

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The Dead Don’t Die

First Reactions:

Robbie Collin: Jim Jarmusch’s The Dead Don’t Die is the best opening night gala I’ve ever seen in Cannes. Which isn’t saying much, but even so! It’s a hoot

Xan Brooks: “This isn’t going to end well”, or how do you spoil an apocalyptic zombie comedy that shows its hand from the get-go? Jarmusch’s Cannes opener is an amiable, indulgent Trumpian satire. All-star cast having fun; I largely did too

Alex Billington: Deadpan, slow burn, zombie irony with a seriously nihilistic bite. Jarmusch gets a little too high on social commentary and seems to forget about making something entertaining. At least there’s some cool kills.

AA Dowd: Jim Jarmusch’s meta horror-comedy THE DEAD DON’T DIE is a big comedown from the laidback profundity of PATERSON. Self-consciously riffs on self-conscious riffing. Could count on one severed hand how many times I laughed.

Beatrice Behn: TheDeadDontDie or How even Jim Jarmusch and Co. go all ¯_(ツ)_/¯ in regards to Trump’s America. Zombie fun, meta gags but in the end not even Bill Murray can save us.

David Ehrlich: THE DEAD DON’T DIE is kinda lifeless, as Jim Jarmusch takes a laid-back, (un)deadpan look at our zombified modern world. more brains than bite, but Tilda Swinton also decapitates a lot of people, so that works.

Eric Kohn: It’s uneven, but I could bask in the kookiness of THE DEAD DON’T DIE all day: Zombies muttering “WiFi” and “Xanax,” a Samurai Swinton, racist Steve Buscemi with a dog named Rumsfeld, a fourth-wall-breaking Adam Driver, etc. Bonus points for a bloody Larry Fessenden!

FilmLand Empire: THE DEAD DON’T DIE: a loving tribute to old school B-movies that perfectly blends in small town genre Americana with Jim Jarmusch’s usual indie, deadpan style. I adored it

Jamie Graham: Jarmuch’s deadpan zombie movie The Dead Don’t Die is a lot of fun. Far too self-aware to contain a shred of real human emotion, and the social commentary is laid on as thick as the grue, but it had me chuckling throughout, and the formal precision is [hand ok emoji]

Jason Gorber: THE DEAD DON’T DIE – Jim Jarmusch channels Romero’s morbid tropes to middling results. It’s a jet black, self-aware comedy that never strikes its proper balance, feeling more a drawling twangy tune than a symphony of undead goodness that lands DOA

Total Film: Jim Jarmusch’s all-star zom-com is an entertaining-to-a-point showcase for Adam Driver’s formidable comic chops, and a sincere love letter to Romero. But digs at Trump-era America don’t amount to much, and the self-aware gags go too far

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4 hours ago, SergioBenatti said:

Eu mesmo vi duas vezes no cinema. Na primeira, saí da sessão antes de acabar, de tanto que eu odiei. Depois, cumpri a missão.

Pois é, mas o que reparo é o seguinte. Olha o tamanho do projeto, hype engajamento necessário pra chegar perto disso.

Assustador.

Ainda que com sucesso não tenho na memória mesmo essa explosão.

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CANNES 2019:

Schedule for In Competition films:

Weds 15th: Les Miserables
Weds 15th: Bacurau
Thurs 16th: Atlantique
Thurs 16th: Sorry We Missed You
Fri 17th: Little Joe
Fri 17th: Pain & Glory
Sat 18th: The Wild Goose Lake
Sat 18th: The Whistlers
Sun 19th: Portrait of a Lady on Fire
Sun 19th: A Hidden Life
Mon 20th: Young Ahmed
Mon 20th: Frankie
Tues 21st: Once Upon A Time…In Hollywood
Tues 21st: Parasite
Weds 22nd: Matthias & Maxime
Weds 22nd: Oh Mercy!
Thurs 23rd: The Traitor
Thurs 23rd: Mektoub, My Love: Intermezzo
Fri 24th: It Must Be Heaven
Fri 24th: Sibyl

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Les Miserables

First Reactions:

Gregory Ellwood: Les Miserables for the most part lacks an authenticity in style and tone. It gets somewhere slightly interesting at the bitter end but so much of it is weak. Felt like watching a CBS procedural at times

Guy Lodge: There’s bristling anger and energy in Competition wildcard Ladj Ly’s urban thriller LES MISERABLES, but I was surprised to find it so dominated by the cops’ POV. Still, an auspicious fiction debut, and easily the best film named LES MISERABLES this decade.

Alex Billington: A supremely tense, remarkably fresh, masterful feature debut from Ladj Ly. This film fucking rules. A modern look at relationships between cops and community and different generations. Don’t fuck with the kids. The finale is one for the ages. Bravo

AA Dowd: Uncomfortable with the ambiguous politics of DRAGGED ACROSS CONCRETE? The Hugo-quoting LES MISERABLES leaves no doubt as to where it lands on cops cracking heads. Enjoyed the film’s one-day-in-David-Ayer-hell energy, but this is drama as baton

Heather McIntosh: Les Misérables is an incredibly tense thriller by Ladj Ly. It focuses on corrupt police and the havoc they wreak on the communities they harass. A really impressive debut feature

Nadia Neophytou: Ladj Ly’s Les Misérables is one of those films that will be swirling around my mind for the rest of my Cannes. Ly’s debut is a gut-punch but in all the right ways, as it explores police brutality & social misery in the tough suburb of Montfermeil.

Magdalena Miedl: ok regarding Ladj Ly’s LES MISÉRABLES, this is a mélange of GOMORRHA, POLISSE, but oddly unspecific – begins as social realist comedy of sorts, ends as a war picture. A bit at loss what to make of it.

Tim Grierson: While I appreciated the anger and Ladj Ly’s skill with action sequences, this bitter, earnest portrait of simmering racial tension in Paris is such a blunt instrument that I found it manipulative and heavy-handed

Jason Gorber: Ladj Ly transmogrifies Hugo’s tale of repression and revolution on its head, casting dark, nihilistic gaze on modern France and conflicts between the poor, the police and the politician. Occasionally over broad, nonetheless has moments of excellence

Arash Azizi: a poignant cop drama which deserves credit for not falling into “good cop, bad cop” dynamics or fetishism of the order so common in American films.

Jordan Cronk: This movie will win an award and I mean that in the worst way.

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Reações mistas. O que em Cannes é sempre bom:

Bacurau:

First Reactions

AA Dowd: BACURAU is wild shit. I would not have guessed that dude who made NEIGHBORING SOUNDS would turn around and (co)direct a movie that reminds me of John Carpenter, Wes Craven, and FIRST BLOOD. But this is where we are, and I’m glad we got here

David Ehrlich: The director of Aquarius returns with a psychedelic Brazilian Western that’s part Seven Samurai, part Hostel, and maybe even part Udo Kier fighting ghosts with a sniper rifle. it obviously rules.

Robbie Collin: Lots of bang for your buck in Bacurau: a fine-grained nostalgic Brazilian community portrait *and* blood-curdling parable of contemporary channer psychopathy. Wild swerve for Mendonça that feels like a totally natural progression in retrospect. Liked it

Emma Stefansky: BACURAU is totally perplexing. there were bits I thought were too much, bits I thought were just awful, and yet more bits I genuinely loved. magical realism morphs into a weird video game-y futuristic fantasy. no idea how I’d write about it

Alex Billington: What a peculiar film. A mash up of Brazilian culture, political criticism, village mythology, dystopian sci-fi, and a bunch of other ideas sprinkled in. I enjoyed some parts of it, but not all of it. Attempts to cover so much territory, but never solidifies

Guy Lodge: BACURAU’s a much more complex, conflicted beast that I’m still sorting out, but its ideas and metaphors are a long way from the crystalline geometry of NEIGHBOURING SOUNDS and AQUARIUS: good, nervy scenes bump up against clunky, hollow ones, and not all the genre allusions click

Anne Thompson: Bacurau is a satisfying, explosive Peckinpah western set in lawless Brazil as an abandoned town protects itself from an unexpected threat. Sonia Braga leads a great local cast while Udo Kier is the best of the weaker crew, the English-speaking outsiders

Mani Lazic: Not sold on BACURAU, K M Filho & J Dornelles’s mad hyperviolent & poetic film (satire?) abt a small Brazilian community protecting itself. An unpleasant watch for me, but maybe was meant to be funny? The film can’t decide between realism & abstraction at key moments

Xan Brooks: Firmly in the prop camp on Bacurau; the late-night screening crawled into my dreams. Fevered, twisted human safari; a kind of pith-helmeted Luis Bunuel tale starring a taxidermied Donald Trump Jr. Savage & strange & rather wonderful too

Tom Page: BACURAU is full of subtle textures in its depiction of rural Brazil, rubbing up against coarsely-written Western infiltrators. An intentional clash of art house and blockbuster aligning with its allegory of imperialism and resource consumption

Richard Lawson: Bacurau? More like BacuWOW! Love walking into a movie having no idea what it’s about and being so happily, unnervingly surprised. Tarantino better watch out

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And Then We Danced

First Reactions:

Ella Kemp: Thrilled to announce the resounding truth that AND THEN WE DANCED is the golden spiritual sibling of CALL ME BY YOUR NAME. The line “You’re too soft” within the first five minutes effortlessly teases the familiar world to fall in love with all over again

Iana Murray: AND THEN WE DANCED: beautiful and tender – unsaid words are expressed in movement and love is corporeal. i’m floored, i love this movie so much

Kyle Buchanan: AND THEN WE DANCED is basically GOD’S OWN COUNTRY with dance scenes, or CALL ME BY YOUR NAME with Robyn instead of “Love My Way”

Wendy Ide: Really loved AND THEN WE DANCED – familiar narrative but so elegantly realised.

Gregory Ellwood: And Then We Danced covers very familiar gay first love story but tries to wrap it up in themes of Georgia’s (the nation) conservative views. The leads are fantastic but it isn’t as distinctive as it strives to be

Lisa Nessellson: An instantly engaging tale of a young male dancer’s sexual awakening in contemporary Tbilisi, And Then We Danced is personal and political, romantic and educational

Richard Lawson: Anyway, the movie is AND THEN WE DANCED, a pretty familiar gay coming-of-age story, though set against an interesting backdrop (traditional Georgian dance in Tbilisi) and beautifully shot. The lead is great too—like Jamie Bell and Timothée Chalamet combined

Alexander Dunerfors: “And Then We Danced” is an absolutely delightful gay drama. Plenty of heart and emotion. Wonderful new actors. It all comes alive with beautiful choreography and an almost effortless direction. Bravo

Niels Putman: Strong when it turns towards the physical liberation of its inherent queerness; use of body language/dance is tender, smart. Little less strong in its use of familiar gay tropes — echoes BILLY ELLIOT’s climax. Great, charismatic lead.

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Fechando a trilogia com muita emoção, "Como Treinar o Seu Dragão 3" é, mais uma vez, um deslumbre. Tecnicamente perfeito, de embasbacar; um magnífico trabalho da DreamWorks. 

Alguns dirão que é bastante previsível, e é verdade. Mas eu não estava preparado para a tônica da trama mudar. Explico: se antes a pregação de tolerância e união entre diferentes era o mote dos filmes, neste, surpreendentemente, vemos uma mudança de nível. Aqui, a separação dos mundos é vista como algo salutar, próprio da maturidade e da independência emocional. Há um crescimento nos personagens, que - assim com acontece na vida real - substituem a amizade pelo amor.

A trilha sonora de John Powell, indicado ao Oscar merecidamente pelo primeiro "Como Treinar seu Dragão", mais uma vez, é encantadora.

Assim como os dois predecessores, vejo o filme conseguindo a indicação a Melhor Animação, em 2020, como está registrado em minha primeira previsão.

Jay Baruchel in How to Train Your Dragon: The Hidden World (2019)

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Olha o Senegal entrando na briga pelo, agora, Oscar de Filme Internacional...

Atlantique

First Reactions:

Gregory Ellwood: ATLANTIQUE is compelling watch even when it loses itself for a bit

Another Gaze: We are STUNNED by Mati Diop’s ATLANTIQUE, a beautifully crafted love story that manages to be a crime mystery, a magic realist tale, and a paean to the youth of Senegal all at once

Niels Putman: The supernatural crawls its way into the natural in Mati Diop’s magic realist, sociocritical love story/slowburn crime drama ATLANTIQUE. Nuance is its strongest suit. Stunning final shot/scene

Alex Billington: Mysterious, stylish, compelling African refugee parable about a woman finding herself while caught up in the loss of her love. Some eye rolling moments, the film thinks it’s more clever than it really is. But it has some intriguing ideas it plays with.

Ella Kemp: ATLANTIQUE feels like a ghost story, a love story, a revolt and an elegy all at once. Some big ideas slip away, but the mystery remains pretty hypnotic still. Excited for Diop’s long long career to come

Anna Smith: The Cannes premiere of ATLANTIQUE was special: not just the first Palme d’Or contender from a black female director but a fascinating, genre-blending film. It creeps up on you in many ways, all of them good.

Jonathan Romney: starts resembling African Loach, turns star-crossed love story, then detective drama… then the djinns come in. Mesmerisingly strange. Loved the music… and those swirling disco lasers. Du cinéma quoi.

Adam Woodward: Mati Diop’s Atlantique is a striking, oblique tale of oppressive relations and otherworldly liaisons. Love the mood and score but characterisation sometimes a bit thin

Katherine McLaughlin: Atlantique is fantastic! An eerie and melancholic horror packed full of raw emotion. An exciting debut from Mati Diop

Xan Brooks: Swept away by Mati Diop’s Atlantique at Cannes. A luxuriant death-haunted Valentine of a film from the coast of Senegal. Itinerant workers, star-crossed lovers, white-eyed ghosts

Jordan Farley: Mati Diop’s bewitching Senagalese mystery about young men who go missing off the Dakar coast, and the ghosts they leave behind. Best to go in as blind as possible. A beautifully shot, exquisitely scored slow burn

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Rocketman

 First Reactions:

Rebecca Keegan: Hot damn, Taron Egerton is the real deal. Rocketman
is a musical about picking yourself up off your ass and Taron delivers the sweat, grit and vulnerability it needs.

Anne Thompson: Dexter Fletcher’s sexy dramatic and poignant Rocketman is an ambitious full-on bio musical with 20 songs—This Is Your Song got applause— sung by star Taron Egerton in a breakout performance. Watch for it to follow boffo global box office with a run on a roadway!

Gregory Ellwood: Rocketman made me cry. Doesn’t quite stick the landing at the very very end but Taron Egerton is spectacular. Oh and for those doubting Rocketman is very very very gay

Jamie Graham: Enjoyed Rocketman. Less censored than Bohemian Rhapsody and packed wall-to-wall with Elton’s bangers. A pretty straight-forward music biopic (whatever the filmmakers claim) but enough momentum and surreal flourishes to propel it breathlessly forward

Stuart Oldham: “Rocketman” is fantastic, a musical drama that hits all the right notes, especially the sad ones

Kyle Buchanan: Pleasantly surprised that ROCKETMAN does not skimp on the gay sex, but the gayest thing about the movie is still Taron Edgerton insisting he’s fat when he isn’t

Eric Kohn: If you were wondering what a great Elton John biopic looks like, don’t hold your breath. But at least ROCKETMAN doesn’t skimp on the music

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Mais um prêmio pra Ken Loach?

Sorry We Missed You

First Reactions:

Emma Stefansky: SORRY WE MISSED YOU is crushing, depressing, exhausting. takes a hopeless situation and makes it worse by the minute. there’s no telling when it’ll getcha, but it will

AA Dowd: Capitalism will crush you, your family, your hopes, your dreams to dust. Even by Loach’s standards, a sledgehammer of misfortune. Affecting in spots, but Jesus

Donald Clarke: Loach’s SORRY WE MISSED YOU is excellent (if you’re on board with the aesthetic). A rigorously researched dissection of the gig economy. Adult performances strong. Kids off-the-chart superb

Charles Bramesco: Papa Loach overplays his hand a couple times but Jesus fucking Christ this gutted me

Alex Billington: Another quaint (or not) Ken Loach film about how shit life can be. This time it’s a family drama about how materialism has degraded society forcing us to be slaves for money. A fine anti-capitalism film from Loach

Rory O’Connor: A companion piece to Daniel Blake that improves on its Palme winning predecessor, swapping benefit bureaucracy for the nightmare of zero-hour contracts. Unflinching, heartbreaking, still full of life. Loach’s strongest in years.

Ella Kemp: SORRY WE MISSED YOU hits real hard. A deeply sad and true portrait of life consumed by labour, played with affective rawness. It’s led by a major new name to remember: Kris Hitchen is absolutely heartbreaking

Tom Page: SORRY WE MISSED YOU is Ken Loach at his most Loachian. It’s almost Miller-esque (“Death of a Postman”?) in its depiction of the devaluation of honest toil. I think — I hope — it will provoke a staunch debate about the degrading consequences of the gig economy. Crushing.

Jason Gorber: Ken Loach stirs up another of his class dramas this time with home care and delivery fans at center stage. All in keeping with his travails of working class shtick – Fans will like, but don’t expect new converts to his mode of somber storytelling

Luke Hicks: absolutely crushes you with it’s impossible, realist, post-capitalist maze, which cages its desperate focal family. found myself hoping for death by car crash so someone might experience relief. it’s a weepy one. loach has always been good at that

Xan Brooks: Sorry We Missed You is powerhouse late period Loach. The right man for these wrong times; needed now more than ever

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