Oscar 2020: Previsões

[SergioB.]

Vai ser difícil eu ver um documentário mais es-pe-ta-cu-lar do que esse "American Factory" neste ano. Que isso!

É uma aula de Sociologia, de Relações Internacionais, de pensata sobre os rumos da economia mundial. É Adam Smith e Karl Marx dando tapas na sua cara! Não há didatismo, nada é explicado, tudo é "mostrado", tudo acontece na sua frente, na sua cara, sem sala de montagem, sem "interpretação" - do jeitinho que eu amo. 

A Globalização nunca foi tratada de forma tão íntima e pessoal. 

Premiado em Sundance, e candidatíssimo ao Oscar de Melhor Documentário, ainda mais com a campanha da Netflix, e com o casal Obama por trás.

Assistam, é maravilhoso!

[SergioB.]

Weekend Results:
1. Angel Has Fallen – $21.25 million
2. Good Boys – $11.75 million
3. Overcomer – $8.2 million
4. The Lion King – $8.15 million
5. Hobbs and Shaw – $8.14 million

[SergioB.]

"Apollo 11" é um dos documentários que mais chamou a atenção neste ano, já que comemora-se 50 anos da grande missão espacial. A efeméride levará esse doc ao Oscar? Está na lista de muitos apostadores.

Como cinema, é um ótimo trabalho de montagem (premiada em Sundance), pois o diretor e montador Todd Douglas Miller trabalhou apenas com registros de arquivo, imagens oficiais remasterizadas. Não há qualquer narração extra, entrevista extra, nada externo à viagem, nenhuma firula. Aliás, esse doc faz de "First Man" uma coisa fajutamente teatral, excessivamente dramática. Aqui tudo é científico, controlado, e "clean".

Realçados os méritos, eu não gostei muito. Fiquei pensando como, guardadas as devidas proporções, me parecia um "Filme Oficial da Copa do Mundo". A gente vê externamente como foi a campanha de algo muito importante e legal, os bastidores de algo muito importante e legal. Mas é só.

[Gust84]

Sérgio, não li suas impressões do último do Tarantino.

Não se emocionou muito?

[SergioB.]

38 minutes ago, Gust84 said:

Sérgio, não li suas impressões do último do Tarantino.

Não se emocionou muito?

Não vi ainda.  Vou fazer como você e ver em IMAX. Talvez na quinta.

[SergioB.]

Como eu previra, "Vida Invisível" será nosso representante no Oscar.

Admira-me que o filme tenha ganhado de "Bacurau" por 5x4. Achei que a indicação fosse ser menos acirrada, dado o colossal envolvimento da Amazon, que fará a campanha e distribuição.

 

[SergioB.]

Trailer de The Laundromat:

 

[SergioB.]

Trailer de JOKER:

 

[SergioB.]

Foi anunciado ontem que "The Irishman" terá 3 horas e meia de duração, 210 minutos.

Se vier a ganhar Melhor Filme será o quarto mais longo da história, atrás de "Lawrence da Arabia" com 222;"Gone With The Wind" com 221; "Ben-Hur" 212 minutos, ultrapassando "Godfather II".

Abaixo, alguns dados extra:

Gone with the Wind (1939) (without music): 221 minutes (3 hours, 41 minutes). With Overture, Intermission, Entr’acte and Walkout Music: 234 minutes (3 hours, 54 minutes.
Lawrence of Arabia (1962): 222 minutes, 3 hours 42 minutes) slightly longer. With additional elements Lawrence was 3 hours and 52 minutes. If we’re just counting the movie itself, Lawrence of Arabia was the longest, although Gone with the Wind is often mentioned.

After these two movies, we have Ben-Hur (1959) at 212 minutes and the Godfather II (1974) at 200 minutes.

[SergioB.]

"Marriage Story" do Noah Baumbach ganhando "raves" dos críticos, na sua estréia en Veneza, em particular Scarlett Johansson!!

Comparações com "Cenas de um Casamento" do Bergman. Não vamos exagerar, né?! Aquilo ali é irrepetível.

 

[SergioB.]

F I N A L M E N T E!!

(Então, por onde começar?Já sei!)

Era uma vez uma indústria cinematográfica que era conduzida não necessariamente pelos "melhores da classe", era conduzida ao contrário por uma gente meio racista, majoritariamente branca, conservadora, mas que foi "pega" no meio do caminho por uma transição de época, em que valores mais liberais começaram a aparecer na sociedade - uma gente estranha, com roupas coloridas, cabeluda, vinda até do outro lado da fronteira - começou a aparecer na Califórnia. Era 1969, havia uma guerra, e a inocência daquele país e daquela indústria iria inevitavelmente se perder. E um assassinato chocante poderia bem representar esse fim de era.

Esta, a era, está muito bem caracterizada, seja pelos bárbaros figurinos de Arianne Phillips (nunca um filme de Tarantino foi indicado na categoria), seja pelo Inacreditável Design de Produção de Barbara Ling ( Nunca indicada, mas a quem vejo favorita desde já ao Oscar da categoria). Gostei também da Fotografia de Robert Richardson, a quem vejo mais uma vez indicado. Me chamou a atenção a ausência, nesse filme, de um momento musical mais acachapante, tanto que ninguém assina Trilha Sonora, segundo o IMDB.

Agora vamos ao busílis da coisa... A Montagem. A terrível morte por hipertemia de Sally Menke em 2010, montadora dos filmes do Tarantino, - de "Cães de Aluguel" a "Bastardos Inglórios"-  surge muitas vezes entre os críticos como a explicação única e definitiva por que os filmes recentes do aclamado diretor estão mais lentos, para alguns críticos até mesmo "arrastados" e sem dinamismo. Ou seja: a conta recai toda em Fred Raskin, montador também desse nono filme. Eu também reconheço que o ritmo mudou. É fato. É cristalino. Mas não confundo causas com consequências. A consequência é o filme estar mais lento, demorando mais a acontecer...mas a causa para mim não é a substituição do montador, a causa para mim é outra: Há um número cada  vez maior de "intervalos líricos", que fogem à história central. Em Literatura, falaria-se em digressões. Eu não sei como chamar digressão em cinema. Há alguma palavra técnica? Pois bem, eu decidi denominar de "intervalos líricos". Eles nem são ruins, na verdade, só que eles estão cada vez maiores nos filmes do Tarantino. O que necessariamente tem a ver com o Roteiro, e não com a montagem!

Descontados esses mundos adicionais, o roteiro demonstra uma expressão de amor tão grande pelo cinema, que ele vai tentar contar aqueles acontecimentos criminosos terríveis, de um jeito humorado, cheio de "bromance", na busca por um final mais feliz. Continuam presentes as ótimas piadas, os xingamentos,  os objetos de cena violentos... É um roteiro representativo do melhor do cinema dele, porém, com mais intervalos...

Em termos de Oscar, acho que o trio de atores conseguirá as indicações. Eu amei a atuação dos três, inclusive da Margot Robbie, e acho uma idiotice só ressaltarem os "pé sujos" dela como eu já li por aí...(Aliás, o filme está cheio de solas de pés, reparem!...). Ela evoca toda a beleza e simplicidade de Sharon Tate. Brad pegou um superpersonagem, acho que ele é o favorito, no momento, ao Oscar de Coadjudvante; mas pra mim, quem deu o maior show foi mesmo o Leonardo DiCaprio. Aquela cena em que ele precisa refazer uma gravação é estupenda, dificílima. Amo qualquer momento "Jackie Brown"...

Tenho que refazer minhas previsões. Acho que não será dessa vez o Oscar de Direção. Talvez seja na décima vez.

Por derradeiro, concordo com Tarantino, a vida é melhor nos filmes.

É isso que ele quer dizer.

                                                                                     THE END

 

[SergioB.]

FESTIVAL DE VENEZA 2019:

Ad Astra

First Reactions:

Alex Billington: Well worth the wait. Ad Astra is glorious. An awe-inspiring, magnificent journey through space. As a big time space geek, it ticks every last box. Sensational.

Lorenzo Ciorcalo: Desperate, lyrical, heart-wrenching quest for life. The space movie Malick never made. A real To the Wonder.

Jake Luke Sharp: Visually stimulating with artistic bravado regarding the films composition and framing but aside from surface-level affirming visuals, ultimately a meandering lifeless existential entity that overly evaluates simplicity.

Radek Folta: Ad Astra is worth every second and every frame of it’s time. Monumental space odyssey that feels like an intimate psychodrama. Just for its melancholic beauty I want to immerse myself in its world again and again

Mike Ryan: phenomenal movie, AD ASTRA. This movie absolutely floored me and I can’t stop thinking about it.

Anton Volkov: Grey’s gorgeous tribute to brilliant sci fi past and present (and Apocalypse Now/Heart of Darkness of course), and an “are we alone” story focusing so well on the ‘alone’, in many thanks to Pitt.

Robbie Collin: Brad Pitt’s star quality shines in an existential sci-fi spectacular

James Mottram: Brad Pitt is on sensational, Oscar-worthy form in James Gray’s sci-fi masterpiece

David Ehrlich: Ad Astra is an awe-inspiring film about the fear of male vulnerability and the fait accompli of becoming your own father — whomever he might be

[SergioB.]

FESTIVAL DE VENEZA 2019:

Marriage Story

First Reactions:

Michael Phillips: MARRIAGE STORY is a knockout. Adam Driver and Scarlett Johansson marvelous in Noah Baumbach’s fully felt chronicle of a long-distance breakup and the child in the middle. Plus Driver performs a tip-top rendition of Sondheim’s “Being Alive”

Guy Lodge: I like Marriage Story a lot, but I got the same jolt from seeing Robbie Ryan’s name in the credits that I get when it turns up in Ken Loach’s films too. Guys, don’t hide that light.

Kris Tapley: I’m biased but MARRIAGE STORY is Noah Baumbach’s best film. Full stop. Deeply human story, rich and refined visual language, perfect performances across the board — I keep swooning. I’ve spent quite some time with the film already and I look forward to going back again and again.

Alex Billington: Baumbach!! Baumbach!! Baumbach!! Baumbach!!!!!!!!!! There are two amazing scenes in Marriage Story that I wanted to give an instant standing ovation to. God WHAT A FILM. What a film.

David Ehrlich: Not sure what to make of this quite yet but it feels a bit all over the place and not quite at Meyerowitz levels. Best in concentrated, angry doses. Adam Driver sings! and there’s a bit with a knife that’s completely brilliant. Divorce looks unpleasant

Eric Kohn: MARRIAGE STORY is an astonishing showcase for Scarlett Johansson and Adam Driver, a terrific step up in ambition for Noah Baumbach, and a dark/funny/poignant evocation of the divorce process as a conduit to the paradoxes of life itself.

Anton Volkov: so that’s the acting race already locked. Total emotional rollercoaster, heartstrings galore – transfixing, funny and heartbreaking in equal measure, ScarJo and Driver are just that good. Also, of course Dern in Harvey Specter mode was glorious

Josh Rothkopf: wrecked me on many levels; it’s so much more than a definitive divorce drama and Noah Baumbach’s triumph—it’s both—but a gift of real lived-in compassion for the survivors of broken relationships.

International Film Critique: Noah Baumbach’s Marriage Story is his strongest and most resonant movie yet. A mesmerising, messy and heartbreaking film about the dissolve of a marriage. Every single actor involved is outstanding. But this is Scarlett Johansson’s chef-d’œuvre. Astonishing!

[SergioB.]

TELLURIDE 2019:

Ford v Ferrari

First Reactions:

Kris Tapley: FORD V FERRARI is pure excellence. Classic, robust filmmaking. Emotional in hard-earned ways. I’ll watch it over and over again forever. It’s James Mangold’s finest hour and a hell of a way to start Telluride this year.

Erik Anderson: FORD v FERRARI is every bit as thrilling and suspenseful as you’d expect. Great performances all around too but Christian Bale wins this race.

Matt Neglia: FORD v FERRARI is a solid, roaring, muscle fueled film from James Mangold about setting aside ego & pushing each other beyond our limits. Long but entertaining. Bale has the flashier role than Damon but both turn in strong work.

Jasonosia: It doesn’t break any new ground, but I had a lot of fun here. Contains quite possibly the greatest racing footage ever shot. Also, mighty refreshing the one time Bale plays a character in his own ill-tempered skin just happens to be his career best performance.

Scott Mantz: A fascinating, gripping, visceral adrenaline rush, but also a rousing, heartfelt & moving film about passion, loyalty & friendship! Matt Damon & Christian Bale are sensational! It’s “The Right Stuff” on wheels

Priscilla Page: saw and loved Ford v Ferrari, a story I already knew well that still felt gripping and tense. visceral, poignant, beautiful to look at. Christian Bale’s performance is (unsurprisingly) exceptional. I don’t think I’ve ever seen racing look – or sound – so good in a movie before.

Mark Johnson: revs on all cylinders, with Christian Bale’s piston-pumping performance leading the film across the finish line. Editing, cinematography, and score are all top-notch achievements, but the sound work dominates the film. Could be a big contender below the line

Anne Thompson: a hard-driving percussive emotional story of brothers in arms that left me in tears. Matt Damon and Christian Bale kill it

Gregory Ellwood: Ford v Ferrari is an edge of your seat drama with great performances with Matt Damon and Christian Bale, among others. Yes, that sounds like a pull quote but I was actually on the edge of my seat

[SergioB.]

TELLURIDE 2019:

Judy

First Reactions:

 

I’ve gotta tell you, I don’t think Renee Zellweger could have possibly been better as Judy Garland than she is in JUDY. Career-best work! The movie is fine, but, like MY WEEK WITH MARILYN and FILM STARS DON’T DIE IN LIVERPOOL, the performance is the reason to show up! -@ScottFeinberg

Renee Zellweger gives a career-best, heartbreaking performance in @JudyTheFilm – covers the rainbow of emotions and the tragic pain of her life. Really touching #Telluride #TellurideFilmFestival -@jdonbirnam

Renée Zellweger gives a jaw-dropping portrayal in a sometimes choppy, sometimes brilliant film. Her volcanic, tour-de-force performance is one for the ages, and is absolutely worthy of a second Oscar. #judymovies #tff46 #TellurideFilmFestival #ReneeZellweger #judygarland -@MarkLikesMovies

#ReneeZellweger IS Judy Garland. And the audience was in tears at the end of the movie. What Hollywood did to Judy, it’s believable but unbelievable. #judythefilm -@MarcMalkin

Guy Lodge: I like JUDY because hyperbolic biopic cliches don’t apply: Renee Zellweger isn’t “uncanny”, she doesn’t “disappear into” Judy Garland. It’s very much a Zellweger performance, meeting Garland halfway, finding what feels like honest common ground.

Matt Neglia: JUDY is a very average biopic about a larger than life figure in Judy Garland. Both on the stage and off, Renee Zellweger taps into something extraordinary to bring us what can only be referred to as the best work of her career. She’s coming for that Oscar nomination

Clayton Davis: Renee Zellweger digs and digs deep with her interpretation of an icon. Her performance in ‘Judy’ is so profound, with every acting job taken in her career, leading to this moment in history. A true revelation of the cinematic senses. In awe.

[SergioB.]

Telluride 2019:

The Aeronauts

First Reactions:

@AshleyGMendel
#TheAeronauts perfectly combines the quiet majesty of the skies and clouds with a high flying adventure that is incredibly human and emotionally engaging. #EddieRedmayne and #FelicityJones give inspirational performances. #TellurideFilmFestival

@TheOtherScottM
THE AERONAUTS is an ambitious film that must be experienced on the big screen. Felicity Jones and Eddie Redmayne prove that lightning can strike twice. Their performances are engrossing & emotional. Tom Harper is a director to keep an eye on. #TellurideFilmFestival #TheAeronauts

@FraserFilmMaker
I just had the pleasure of watching the new Tom Harper film, The Aeronauts, starring Eddie Redmayne and Felicity Jones. Utter brilliance. My hands were sweating the entire time, I was so on edge. Definitely worth seeing.

@awardscircuit
‘The Aeronauts’ is ambitious in scope.  Visuals are a joy.  Probably one of the few films that may have benefited from being 3D. Felicity Jones is fearless. Pencil in Steven Price for Original Score. #TellurideFilmFestival

Scott Menzel: THE AERONAUTS is an ambitious film that must be experienced on the big screen. Felicity Jones and Eddie Redmayne prove that lightning can strike twice. Their performances are engrossing & emotional. Tom Harper is a director to keep an eye on.

Clayton Davis: ‘The Aeronauts’ is ambitious in scope. Visuals are a joy. Probably one of the few films that may have benefited from being 3D. Felicity Jones is fearless. Pencil in Steven Price for Original Score

Grant Mayotte: a highly ambitious film that provides great visuals for the big screen. Eddie Redmayne & Felicity Jones are completely comfortable with one another & it shows. Steven Price’s score is 1st true awards contender. Doesn’t always earn its runtime.

Ashley Menzel: The Aeronauts perfectly combines the quiet majesty of the skies and clouds with a high flying adventure that is incredibly human and emotionally engaging. Eddie Redmayne and Felicity Jones give inspirational performances.

Matt Neglia: THE AERONAUTS is occasionally thrilling with some breathtaking imagery & stunts. But it can never fully recover from its quick pace that favors a flashbacks making it harder to invest early with these characters. Jones puts in a strong effort but this one never reaches the stars.

Katie Kilkenny: THE AERONAUTS is pretty lovely, and Eddie Redmayne rightfully steps aside to let Felicity Jones take the spotlight this time around. There’s some silly metaphors and strange time-hopping but overall it’s a fun time

J Don Birnam: Try to watch The Aeronauts in theaters if you can, unless you have vertigo cause it’s scary. It’s exciting and a cool story even if the script isn’t perfect. Felicity Jones and Eddie Redmayne totally have their Kate and Leo moment, snowflakes on hair and hypothermia and all

Erik Anderson: Really enjoyed THE AERONAUTS. A crowdpleasing adventure tale, a terrific Felicity Jones, impeccable techs and even a bit with a dog

Mark Johnson: The Aeronauts is more spectacle than substance, but the performances and chemistry between Redmayne and Jones keep the film from crashing. A fun ride with a great score

[Tensor]

Triste demais que Bacurau não vai representar.

Assisti ontem e é uma das maiores obras-primas do cinema contemporâneo. É simplesmente maravilhoso.

[SergioB.]

TELLURIDE 2019:

Waves

First Reactions:

Ashley Menzel: Wow. #Waves is a heartbreaking and stunning film with phenomenal performances. It is the year of Kelvin Harrison Jr. You will hear about this one come award season. It is every bit of a masterpiece.

Scott Menzel: WAVES is nothing short of phenomenal. Every single actor brings their A-Game in this one. It’s emotionally, poignant, and powerful. A truly remarkable film about love, hate, mistakes, family, & forgiveness. Will leave you speechless. Can’t wait to see it again

Matt Neglia: Trey Edward Shults’ third film WAVES is a masterpiece of humanity, toxic masculinity & forgiveness

Tomris Laffly: Loved WAVES. Trey Edward Shults continues to navigate the fault lines of American families w/ fresh & deeply lived in stories. This is technically his most ambitious/accomplished yet. A certain stupendous gear shift after 1st act would be cruel to spoil in detail.

Erik Anderson: WAVES is an total emotional stunner. A deluge of color and music and sound with top notch performances across the board but Taylor Russell and Kelvin Harrison Jr are absolute fucking stars.

Claudia Puig: WAVES, written & directed by Trey Edward Schults. It’s profoundly compassionate, brilliantly acted, audacious & beautifully shot w/ an original story that is layered, tender, authentic & takes mesmerizing,unexpected turns.

Gregory Ellwood: The cast is spectacular, but Trey Edward Shults’ ambitious new drama Waves is just a bit too unwieldy to truly gel. But boy does it take some gutsy chances structurally and aesthetically.

Ryland Aldrich: Trey Edward Shults’s third feature WAVES is an emotional powerhouse! Quite different from his first two but it has an incredible timeliness that feels so of the moment and fits perfectly into A24’s slate. Every single performance is a knockout

Dave Karger: WAVES just grabbed my heart. It’s tragic and brutal but ultimately hopeful. Sterling K. Brown and Lucas Hedges are terrific but it’s all about the newcomers, particularly Taylor Russell who is a real discovery. Echoes of Moonlight for sure.

[SergioB.]

"The Translator", com Rodrigo Santoro, "O Intérprete" , em português, será o representante de Cuba na corrido do Oscar.

[SergioB.]

"The Laundromat" não foi bem em Veneza, não. Ainda cedo, mas apenas 61% no Metacritic.

FESTIVAL DE VENEZA 2019:

The Laundromat

First Reactions:

Alex Billington: The Laundromat is one of my favorite Soderbergh films in a long time. The Big Short meets Ballad of Buster Scruggs, under the direction of Soderbergh, kind of. A clever satirical parable about how greed is out of hand & obsession with money is leading to a destabilized society

Tim Grierson: Soderbergh’s take on the Panama Papers is messy, uneven, smug. But it’s got its anger in the right place, swiftly depicting different rich people doing myriad bad things. Often, his skill comes across as glib. Here, I found the offhandedness cleansing

Robbie Collin: Your mileage may vary depending on how much of a kick you got out of The Big Short, but I was very taken with Soderbergh’s The Laundromat

Hannah Woodhead: I wasn’t completely sold on The Laundromat initially but I haven’t stopped thinking about it since. Extremely here for Soderbergh’s American Greed trilogy and the weird journey the film goes on

Keith Simanton: The film manages the near-impossible task of capturing our need and love of money and the eventual corruption that brings. THE LAUNDROMAT, with a wickedly clever script by Scott Burns keeps growing and growing as its scenes replay in my head. One of the year’s best

Xan Brooks: Steven Soderbergh’s wickedly entertaining romp loosely based on the uncovering of the Panama Papers is an effective mixed wash of truth and fiction

Eric Kohn: A very funny, WILD TALES-inspired breakdown of the Panama Papers scandal. Hit-or-miss satire, but Meryl Streep kills it, and some of the fourth-wall-breaking stuff is really fun

Owen Gleiberman: A fluky contradiction that works…it’s a movie you’ve got to put on your thinking cap to watch. But then, Soderbergh knows how to make using your head fun.

Kris Tapley: THE LAUNDROMAT is a little Informant, a little Big Short, a lot of HOLY SHIT WHAT ARE WE EVEN DOING??? Meryl adds another notch — she’s so good. Read Jake Bernstein’s book if you want the full download. It’s fantastically dense.

[SergioB.]

Sasha Stone‏Conta verificada @AwardsDaily 21 hHá 21 horas

Mais

Two Popes is fantastic. Nothing like watching two pros illustrate what the craft of acting is all about. Hopkins and Jonathan Pryce, the latter is looking at first ever Oscar nom.

Kris Tapley‏Conta verificada @kristapley 21 hHá 21 horas

Mais

THE TWO POPES just premiered here in Telluride. It’s a peek inside a truly compelling tête-à-tête. Dueling philosophies waged, with Pryce and Hopkins at the absolute top of their games.

 

Gregory Ellwood - Telluride - The Playlist  ?‏ @TheGregoryE 56 minHá 56 minutos

Mais

The Two Popes is very, very good. The crowd at Telluride loved it. Would be a nice hit if with a theatrical distributor. Has a shot at Best Puc nod. Pryce is fantastic.

[SergioB.]

FESTIVAL DE VENEZA 2019:

Joker

First Reactions:

Erik Davis: JOKER is a bold, bodacious love letter to Scorsese’s The King Of Comedy, told through the lens of DC’s most iconic villain. Dark, disturbing, brutal & sad, it’s about an abused man who doesn’t start living until he’s dead inside. Joaquin Phoenix is so damn good

Ben Mekler: Crowd at Venezia76 went absolutely ballistic for JOKER. Film is dark, sick, twisted. I’m with a crowd of fellow critics right now, running through the streets of Venice just screaming. Hollering. My legs are tired. We’ve been doing this for hours. Joaquin is an Oscar contender

David Ehrlich: JOKER: visionary & derivative. radical & cowardly. the boldest comic book movie since The Dark Knight & also just another day in Chuckletown. JOKER is all contradictions & chaotic evil. for better or worse, it’s the movie the Joker would want.

Alex Billington: There will be before Joker. And there will be after Joker. I don’t know if the world is ready for this movie. Or maybe it is? It is GNARLY. It is crazy. It is audacious. It doesn’t hold back. Wow. I can’t believe it exists. But it does. And it’s coming.

John Bleasdale: My film of the festival thus far and one of the films of the year. This is NOT a comic book movie or even an elevated comic book movie(!?). It’s a thriller and a psychological portrait.

Jamie Graham: I adored Joker. Easily the darkest and most genuinely distressing comic-book movie out there. Joaquin Phoenix’s startling creation stirs our empathy & fear, and is as much a Joker for our troubled times as Heath Ledger’s was for post-9/11. Oscar nods, please

Anton Volkov: So Joker is, for lack of a better word, a sledgehammer of a film… Joaquin of course amazing, it’s unsettling and frankly terrifying

Sean Gerber: a brilliant, terrifying character study. Joaquin Phoenix will haunt you with a performance for the ages, letting you see and feel the darkness within Joker from head to toe. It’s disturbing because it’s supposed to be, leaving you uncomfortable yet fascinated.

Steven Weintraub: Joker is a great movie. It just so happens to be a comic book movie. Joaquin Phoenix will absolutely get nominated for an Oscar and the film has a real chance at end of the year awards.

[SergioB.]

TELLURIDE 2019:

Motherless Brooklyn

First Reactions:

Ashley Menzel: Motherless Brooklyn is a beautifully shot piece of art that oozes with style and a distinct tone. Edward Norton is phenomenal and his direction is stunning. It is certainly a bit too long but nonetheless, pretty wonderful

Scott Menzel: Motherless Brooklyn is an odd little film but I sort of enjoyed it. It’s too long which definitely hurts the film but the story is interesting enough with solid performances all around. I give Edward Norton a lot of credit for his performance & his direction.

Clayton Davis: So Edward Norton knows a secret. A secret about film, art, and life. ‘Motherless Brooklyn’ is his attempt to tell us. Throwback/callback/flashback, whatever you want to call it, there’s a lot there. Taut, layered, confident. Not for everyone. Maybe me.

Sasha Stone: Motherless Brooklyn is a great example of why you have to see movies for yourself and not rely on what others say. It’s great. Loved it. I will almost always fall for noir or pulp. Motherless Brooklyn scratches that itch. NYC Norton says has always kind of had an autocratic design with its racism baked into its construction.

Anne Thompson: Edward Norton’s adaptation of Jonathan Lethem’s Motherless Brooklyn is an ambitious, sprawling, gorgeous 50s film noir homage anchored by Norton’s magnetic central performance. But will audiences embrace it?

Matt Neglia: MOTHERLESS BROOKLYN is a densely plotted noir like LA CONFIDENTIAL & CHINATOWN. Despite clever writing & surehanded direction, it isn’t up to the level of those all-time greats. Norton’s portrayal of Tourette’s is uncomfortable but his wits & tender heart are in the right place.

Bobby Harris: I feel like MOTHERLESS BROOKLYN was a well made movie (a little too long) but idk how I feel about Ed Norton’s performance. I think the movie overcomes it, but it took me out of the movie multiple times

Ryland Aldrich: Edward Norton’s MOTHERLESS BROOKLYN is a good ol’ fashioned gumshoe noir and a real who’s who of incredible NYC actors. It’s certainly long but I was thoroughly entertained throughout

Katie Kilkenny: MOTHERLESS BROOKLYN is dividing everyone here at the fest, and I won’t get into the minefield of Edward Norton’s portrayal, but I do enjoy any story that combines noir, Robert Moses criticism and Michael K. Williams

[SergioB.]

TELLURIDE 2019:

The Two Popes 

First Reactions: 

Clayton Davis: Best script of the year from Anthony McCarten. Best performance of the year from Jonathan Pryce. Very well could be my favorite film of the year. ‘The Two Popes’ is astonishing and a masterclass of acting and filmmaking.

Kris Tapley: It’s a peek inside a truly compelling tête-à-tête. Dueling philosophies waged, with Pryce and Hopkins at the absolute top of their games.

Matt Neglia: THE TWO POPES is surprisingly funnier than you would think with two dynamic, enjoyable and yes, maybe even holy performances from two legendary actors: Jonathan Pryce & Anthony Hopkins. They discuss forgiveness, reform, eat pizza & dance tango. Bless them!

Mark Johnson: “The Two Popes” is a religious experience not to be missed. Led by exhilarating performances by heavyweight actors Jonathan Pryce and Anthony Hopkins, the true star of the film is Anthony McCarten’s brilliant screenplay. Heartfelt, hilarious, and sharp as a knife

Sasha Stone: Two Popes is fantastic. Nothing like watching two pros illustrate what the craft of acting is all about. Hopkins and Jonathan Pryce, the latter is looking at first ever Oscar nom.

Eric D Snider: Loved it. Hopkins and Pryce give wonderful, human performances as Old Pope and New Pope. Humorous, endearing, with a clear POV about the Catholic Church but no interest in bashing anyone. I found it all strangely moving.

Jason Park: Anthony Hopkins and Jonathan Pryce are fantastic in this spiritual dramedy. The reinvigoration of faith & identity and the power of healing wrapped in some great jokes provided a genuine film experience. I’m all about this.

David Poland: Two Popes is really a masterwork. Pryce is sensational. Hopkins is excellent. But the writing and directing are the heroes here.

Jacqueline Coley: TWO POPES has all the shade of PARIS IS BURING & PRICILLA QUEEN OF OF THE DESERT plus the gowns ain’t too bad either. I knew Price and Hopkins would deliver but the script is just as good. Funny, poignant & so well acted but don’t sleep on the script it’s incredibe.

[SergioB.]

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As of September 1, 2019, "Once Upon a Time in Hollywood" has grossed $130.8 million in the United States and Canada, and $152.7 million in other territories, for a worldwide total of $283.5 million .China,Japan and Italy releases are yet to commence.