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SergioB.

Oscar 2020: Previsões

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The Traitor

First Reactions:

Deborah Young: From TV to Hollywood, the world has no shortage of mafia dramas, but Marco Bellocchio’s The Traitor (Il traditore) carves out its own niche

Charles Bramesco: look, I love contentious court proceedings as much as the next guy, but I’m only human and I have my limits

Gregory Ellwood: I thought The Traitor was quite compelling. It’s broad but entertaining in an Italian Mob movie way. Lots of quippy lines. That being said, it has the worst Rio de Janeiro for Miami I have EVER seen. If they want to make the shortlist they gotta fix that.

Tim Grierson: a dense, compelling true-life mafia tale that can’t quite transcend some fundamental limitations.

Bilge Ebiri: Marco Bellocchio’s THE TRAITOR: Dub this into English, release it as THE GODFATHER – PART IV, make all the money.

David Ehrlich: An Honorable but Exasperating Biopic About the First Mob Boss to Inform on the Mafia

George Addison: There’s a truly epic quality to Marco Bellocchio’s triumph Il Traditore: every assassination mini-sequence has instant iconic power. A monumental Pierfrancesco Favino breathes volcanic life into his Buscetta in Spanish, Brazilian Portuguese, formal Sicilian, subtitled Sicilian.

Francesc Vilallonga: An impeccable chronicle of two decades of Sicilia. Its precision and rigour dazzles. And Pierfrancesco Favino, the favorite for the best actor award. Masterful.

Jason Bressand: begins sluggishly, but ends at it’s best, thanks to the grandiose play of its main actor and the meticulous retelling of the lawsuits. A very likely acting prize winner

David Bartoli: Great film. Against the Mafia. For the fight of a man. Great performances. Bravo

Manu Yanez: All right Il Traditore by the maestro Marco Bellocchio, a chronicle, from the bowels, of an Italy eaten away by its monsters, its culture and its tendency to create myths. More factual (and less) than cathartic Good Morning, Night, but incisive and exciting.

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Detonaram.

Mektoub, My Love: Intermezzo

First Reactions:

David Ehrlich: the director of Blue Is the Warmest Color made a 4-hour movie about butts. it’s the same length as Lawrence of Arabia, and literally 60% of the movie is close-ups of butts. i had a mild psychotic break at one point

Robbie Collin: I’m a great admirer of Abdellatif Kechiche’s filmography, but thanks to Mektoub, My Love: Infinity War, there are now some big buts.

Guy Lodge: Abdellatif Kechiche is a filmmaker I’ve loved, the first MEKTOUB I thought was messy with good stuff going on inside… and now the appalling MEKTOUB, MY LOVE: INTERMEZZO has me doubting my investment on all counts. A crushing, trollish letdown.

Fionnuala Halligan: The question lingers: why put the actresses through such extensive voyeurism, for such thin drama?

AA Dowd: Almost impressed by the monumental tedium of Abdellatif Kechiche’s 3.5-hour MEKTOUB, MY LOVE: INTERMEZZO. It’s like being locked inside a dance club all night with the most boring twentysomethings alive, not a drop of alcohol in your system

Patricia Hetherington: I just walked out of Mektoub My Love: Intermezzo. The most lacivicious leery trash I’ve seen. Eurgh! Talk about objectification and voyeurism.

Stephen Miller: I’ve witnessed the worst film in competition by miles, and its name is MEKTOUB. Like Louis CK’s leaked standup, Kechiche takes every valid complaint lobbed at BitWC and quadruples down: contemptible, male gazing garbage.

Jason Gorber: The unofficial sequel to BROWN BUNNY hops to Cannes – maliciously repetitive, it’s a demonic film trapped in a Eruotrash dance club. Assembled with as much flair as an assembly cut, it’s a violently repetitive ode to shaking butts and breasts

Jamie Graham: And the Palme Bore goes to Mektoub, My Love: Intermezzo, a bump-and-grindingly tedious, 3.5hr odyssey of nibbling strawberries & adjusting bikinis on the beach, then hitting a club to twerk unendingly. Comes to a head with 15 mins of anatomically detailed cunnilingus

Jason Solomons: I’m wondering: is Mektoub the worst film any previous Palme d’Or winner has ever returned to Cannes with?

Tommaso Tocci: By definition inferior to the glorious CANTO UNO, MEKTOUB, MY LOVE: INTERMEZZO is free to be even more radical. Forces you to fight time, pushes you to confront arousal, dares you to look away through endless repetition. Shameless but monumental

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Mais um candidato. E Israel, mais uma vez, na briga em Filme Internacional.

It Must Be Heaven

First Reactions:

Eric Kohn: It’s always a delight to see Elia Suleiman back in action. The meta charmer IT MUST BE HEAVEN finds him pitching this very movie, and it’s another endearing slapstick statement on the Israeli-Palestinian conflict.

Charles Bramesco: Phenomenal stuff here, more Tatiesque wide-shot comedy now brought into the world beyond Palestine (which reminds our man a whole lot of Palestine). The New York bit is hilarious. Crowd very receptive, multiple applause breaks

Alisha Rouse: It Must Be Heaven was beautifully charming, moving and the first film of the fest to make me snort laugh. Big achievement

Joseph Fahim: Elia Sulieman’s ‘It Must Be Heaven’: really good but not great, and certainly not his best work

Victor Blanes Pico: And Suleiman came to conquer us with his biting vision of the world. IT MUST BE HEAVEN or the mirror of who we are through small moments of lucidity in three very different cities and cultures. The gag as means and end. Sparkly.

Christian Monggaard: Elia Suleimans It Must Be Heaven – where the director himself is the lead – is a really funny and absurd, Roy Andersson-esque film about human folly and the wonderful and weird world we all inhabit, and at the same time a tribute to Palestine

Diego Lerer: Great movie Elia Suleiman, IT MUST BE HEAVEN. Perhaps the festival has saved the best til last

Florent Boutet: What a funny and tender film that It Must Be Heaven is. Finishing on this light and intelligent humor of hope and benevolence signs off a marvelous epilogue to a festival that was no less so.

Thierry Cheze: Elia Suleiman findsa poetic grace of divine intervention with It Must Be Heaven. Applause during, and in the credits, he has conquered the Lumière.

Pavel Sladky: The skeptical Palestinian clown Elia Suleiman returns after 10 years with a melancholic dark comedy about what defines home for us and how to live in the space of empathy and poetry. Beautiful, funny, clever.

Javier Zurro: Brilliant closing with ‘It Must Be Heaven’ a comedy (yes, it can be) about the Israeli-Palestinian conflict and a hopeful cry

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AÍ EU VI VANTAGEM: 

Prêmio "Un Certain Regard":

"A Vida Invisível de Eurídice Gusmão" !!!!!

 

BRASIIIIIIILLLLLL GANHOU O GRANDE PRÊMIO DA MOSTRA UN CERTAIN REGARD DO @Festival_Cannes 2019!!! A VIDA INVISIVEL DE EURIDICE GUSMAO, DE KARIM AÏNOUZ!!!!!

 

Já temos nosso concorrente ao Oscar.

 

D7W-Ge-X4AAXF35.jpg

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Sibyl

First Reactions:

Guy Lodge: Putting Justine Triet’s SIBYL at the end of the Cannes competition is pretty perfect scheduling, since it’s basically dessert: light, silky, satisfying. I keep being impressed anew by Virginie Efira’s growing range and poise, and Sandra Huller is a hoot.

Alex Billington: A convoluted attempt at mixing a story about a mother, a filmmaking story, and lessons on life from a writer/psychologist who is actually as lost as everyone she treats. Very meh. Hüller as a fraught, bitter film director is the best part about this film.

Nivrae: bof. Very Cannois with sex scenes to shock the old. Overall not intense enough. The actors are good but the film did not catch me at all and seemed terribly long.

Marine Bienvenot: Film-therapy, Sibyl strays a little on the slopes of Stromboli but the journey in the traumas, failures, fears and weaknesses of Virginia Efira is upsetting. That it is sometimes hard to live with oneself

Cedric Succivalli: BONG unseen (but I should see PARASITE tomorrow hopefully) I am torn between Pedro and Justine for my Palme d’Or.

Marine Bordone: Wonderful Sybil. Justine Triet confirms the extent of her talent in the heart of toxic relationships. Her richest film in cinema. Virginie Efira is once again above all

Victor Lepesant: Absolutely fascinated by Sibyl, an unclassifiable Justine Triet film, a Lynchian obsession, a Trufaldian psychological complexity, a Godardian formal audacity (a confusing and visionary montage) and a troupe of actors (Effira in the lead) formidable

Gautier Roos: Good, but despite a lot of beautiful things, Sybil leaves an unfinished taste. The mental puzzle announced is not one: it’s just an accumulation of memories more or less inspired. As like Victoria, sophisticated writing falters over time

Ruben Murillo Rosa: Sybil is a very cheap soap opera that has an actress who does not stop trying the whole movie, and that due to the lack of any protagonists who could muster something. I do not think that the montage and the script help to understand the story better. Expendable

Laura Enjolvy: The film is well executed, Virginie Efira plays really well. But for me he lacks soul. I did not feel anything, I never went back to the movie. Too bad.

Josephine Leroy: Completely caught up in the dramatic whirlwind of Sibyl by Justine Triet, with a just brilliant Virginie Efira a disoriented psychoanalyst. Reminiscent of John Cassavetes’ cinema. Dizzying

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Palme d’Or: “Parasite,” Bong Joon-ho!!!

Grand Prix: “Atlantics,” Mati Diop

Director: Jean-Pierre and Luc Dardenne, “Young Ahmed”

Actor: Antonio Banderas, “Pain and Glory”

Actress: Emily Beecham, “Little Joe”

Jury Prize — TIE: “Les Misérables,” Ladj Ly; “Bacurau,” Kleber Mendonça Filho !!

Screenplay: Céline Sciamma, “Portrait of a Lady on Fire”

 

O diretor coreano Bong Joon-ho recebe a Palma de Ouro por 'Parasite' no Festival de Cannes 2019 â Foto: Valery Hache/AFP

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ORGULHO DO CINEMA BRASILEIRO ❤️

E muito feliz com o Bong Joon-ho. Se alguém me falar que ele foi o melhor diretor do século eu teria que dar uma pensadinha pra saber se conseguiria desmentir essa pessoa.

 

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16 hours ago, Tensor said:

ORGULHO DO CINEMA BRASILEIRO ❤️

E muito feliz com o Bong Joon-ho. Se alguém me falar que ele foi o melhor diretor do século eu teria que dar uma pensadinha pra saber se conseguiria desmentir essa pessoa.

 

"Memórias de um Assassino" e "Mother" já o distinguem no pelotão de frente. Paul Thomas Anderson, Jafar Panahi, Haneke, Bigelow, Richard Linklater, Cuarón,  irmãos Dardenne,  muitos fortes em meu conceito também.

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Weekend Results (3-day):
1. Aladdin – $86.1 million
2. John Wick Chapter 3: Parabellum – $24.35 million
3. Avengers: Endgame – $16.84 million
4. Pokemon Detective Pikachu – $13.3 million
5. Brightburn – $7.53 million

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PREVISÕES MAIO/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. Marielle Heller - A Beautiful Day in the Neighborhood
5. Ciro Guerra - Waiting For the Barbarians

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.Annette Bening - The Report
3.Maggie Smith - Downton Abbey
4. Margot Robbie - Once Upon a Time in Hollywood
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

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. Rocketman
3. The King
4. Downton Abbey
5. Jojo Rabbit
                                                                                                                                                                                                                                                    

BEST ORIGINAL SCORE
1. 1917 - Thomas Newman
2. Harriet - Terence Blanchard
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. "Speechless " - Benj Pasek & Justin Paul - Aladdin
2. "(I`M Gonna) Love me Again" - Elton John - Rocketman
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. I Lost my Body

BEST INTERNACIONAL FEATURE FILM
1. Parasite - Coreia do Sul
2. Pain & Glory - Espanha
3. Portrait of a Lady on Fire - França
4. A Vida Invisível de Euridíce Gusmão - Brasil
5. Atlantique - Senegal

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34 minutes ago, SergioBenatti said:

PREVISÕES MAIO/2018 

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. Marielle Heller - A Beautiful Day in the Neighborhood
5. Ciro Guerra - Waiting For the Barbarians

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.Annette Bening - The Report
3.Maggie Smith - Downton Abbey
4. Margot Robbie - Once Upon a Time in Hollywood
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

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. Rocketman
3. The King
4. Downton Abbey
5. Jojo Rabbit
                                                                                                                                                                                                                                                    

BEST ORIGINAL SCORE
1. 1917 - Thomas Newman
2. Harriet - Terence Blanchard
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. "Speechless " - Benj Pasek & Justin Paul - Aladdin
2. "(I`M Gonna) Love me Again" - Elton John - Rocketman
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. I Lost my Body

BEST INTERNACIONAL FEATURE FILM
1. Parasite - Coreia do Sul
2. Pain & Glory - Espanha
3. Portrait of a Lady on Fire - França
4. A Vida Invisível de Euridíce Gusmão - Brasil
5. Atlantique - Senegal

Sergio, eu quero muito muito MUITO acreditar que tu está certo com esse Endgame. hahah

E que loucura vai ser ver um filme brasileiro concorrendo de novo em estrangeiro. Esse Oscar promete.

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1 hour ago, Tensor said:

Sergio, eu quero muito muito MUITO acreditar que tu está certo com esse Endgame. hahah

E que loucura vai ser ver um filme brasileiro concorrendo de novo em estrangeiro. Esse Oscar promete.

Tudo factível, meu amigo. Em Best Picture, a mais ousada, o coloquei em 10º.

As minhas apostas verdadeiramente destemidas são as de "Waiting for the Barbarians", que ninguém fala.

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Melhor Live Action da Disney. O que, pra mim, era até fácil, mas sem diminuir os méritos: é muito bom! É bom com força!

O trio de atores principais está espetacular, intensamente carismático, com loas ainda maiores para o Will Smith.

 Um filme dinâmico, engraçado, nostálgico, e inovador.

Já ganhou o Oscar de Canção, mais um para os letristas de "City of Stars" de "La La Land".  O australiano Michael Wilkinson também deve conseguir a indicação a Melhor Figurino; será sua segunda, embora, a meu juízo, tenha certas composições bem duvidosas.

Palmas para  direção do Guy Ritchie. Entrou em um vespeiro, e saiu mais do que ileso, saiu rejuvenescido.

Alan Menken, um dia as pessoas vão entender que 8 Oscars são pouco para você. A infância de bilhões de pessoas não seria a mesma sem suas músicas!

Will Smith, Alan Tudyk, Navid Negahban, Marwan Kenzari, Naomi Scott, and Mena Massoud in Aladdin (2019)

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Desde Sundance, está sendo um estouro no mundo indie. Dirigido pela atriz Olivia Wilde, e produzido por Adam Mckay, este filme é um parente bem próximo de "Superbad", mas com pretensões mais altas.

A campanha para conduzi-lo a uma vaga de Melhor Roteiro Original já está forte. E pode dar certo. Não tem a densidade dramática de "Oitava Série", pelo contrário, seu prisma é muito mais cômico e porralouca. Pegou o modelo de várias produções da Netflix e pôs substância e ...surto...nele! Gostei muito!

Porém, o que mais me chamou a atenção foram mesmo as atrizes, sobretudo Beanie Feldstein, que era uma das melhores coisas de "Lady Bird", e aqui está simplesmente espetacular.

Beanie Feldstein and Kaitlyn Dever in Booksmart (2019)

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Weekend Results:
1. Godzilla: King of the Monsters – $49.02 million
2. Aladdin – $42.33 million
3. Rocketman – $25 million
4. Ma – $18.26 million
5. John Wick: Chapter 3 – Parabellum – $11.1 million

Avengers Endgame still hanging around; 7.8m weekend (6th), domestic now $815.5 million; just $75m behind Avatar for the planet’s most popular film of all (2.713B vs. Avatar’s 2.788b).

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Weekend Results:
1. The Secret Life of Pets 2 – $47.11 million
2. X-Men: Dark Phoenix – $33 million
3. Aladdin – $24.5 million
4. Godzilla: King of the Monsters – $15.54 million
5. Rocketman – $14 million

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GENTE...

Taron Egerton!!!!

Jamie Bell!!!

Que delícia de filme!! Musical biográfico de muito carisma. Não esperava por tanto, ainda mais que...não sou dos maiores fãs da música do Elton.

Confesso que até o primeiro terço do filme eu estava achando só "muito bom", mas aí veio o plano de "Your Song"...Que isso! Encantador! Os dois atores (Mais a Gemma Jones.Quero chamar a atenção para ela na cena, pois é a única da família que o amava. A mãe permanece na cozinha egoisticamente. ) estão incríveis! A dinâmica de uma relação de amizade entre um homem hétero e um homem gay expressa no olhar, acompanhada por um embevecimento pelo talento de alguém especial. Posso ver essa cena 1000000 vezes na minha vida, que vou gostar.  Dali pra frente, o filme decolou para mim, mas, confesso, o número final não me prendeu tanto. Faltou um pouco de "punch" no final, salvo a fala do abraço (Que o Pablo não gostou, chamou de constrangedora. Eu a aceito.) O roteiro não colocou a sexualidade dele como algo sombrio, algo a ser escanteado, é um mérito; porém acho que a composição dos pais foi bastante unidimensional, um ponto abaixo. Mas somando tudo, eu gostei pra caramba desse trabalho do Dexter Fletcher.

Vou mudar minhas Previsões...Figurino da Julian Day, uma das poucas coisas boas de "Bohemian Rhapsody" e não foi indicado, agora se torna obrigatório. Maquiagem, eu já previa, o envelhecimento dos atores ficou muito bom e natural. Acho que agora é certo de entrar. Canção, eu também já previa...Mas eu não previa Ator! Performance "para sempre" do Taron Egerton. Dança, canta, toca, beija de lingua...Por muito menos, certos atores que interpretam artistas aí ganham o Oscar...

Também não previa Filme! E agora acho que será indicado. As plateias exigirão.

Como eu gostaria de ver o Jamie Bell indicado em Coadjuvante! Que atuação linda! Arrasando desde criança...Quando perceberão o magnífico ator que é?

 

Taron Egerton in Rocketman (2019)

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Essa cena de your song tirou muitas lágrimas da minha esposa no cinema.

Realmente é a melhor parte do filme.

Mas eu destaco também uma pequena sequência da estreia dele nos EUA, onde ele se tranca no banheiro e é convencido a sair pra cantar, e sai como se não tivesse feito todo aquele drama! Ri litros.

E não é curioso, como mesmo muito mais fantasioso o filme (na sua estrutura musical) ele trata o personagem do Elton forma muito mais adulta, natural e tridimensional que o próprio Freddy Mercury.

Baita filme.

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2 hours ago, Gust84 said:

E não é curioso, como mesmo muito mais fantasioso o filme (na sua estrutura musical) ele trata o personagem do Elton forma muito mais adulta, natural e tridimensional que o próprio Freddy Mercury.

Muito bem falado.

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Friday Dailies
1. Men in Black International – $28.5 million
2. The Secret Life of Pets 2 – $23.8 million
3. Aladdin – $16.71 million
4. X-Men: Dark Phoenix – $9 million
5. Rocketman – $8.8 million
6. Shaft – $8.31 million

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