Members FeCamargo Posted October 21, 2005 Members Report Share Posted October 21, 2005 Me recuso a entrar de novo nesse mérito...assim como em cansei de falar de Menina de Ouro. Quote Link to comment Share on other sites More sharing options...
Members guidon Posted October 21, 2005 Members Report Share Posted October 21, 2005 Vc que sabe, só queria q vc comentasse, mas se não quer, ok, humildemente peço desculpas. Quote Link to comment Share on other sites More sharing options...
Members Fernando Posted October 21, 2005 Members Report Share Posted October 21, 2005 guidon Escreveu:e a melhor do ano , Daryl Hannah A sensacional Elle Driver ... Guidon , o que vc arruma para fazer ser dificil fazer um quote do que vc fala ?! Fernando38646.8702083333 Quote Link to comment Share on other sites More sharing options...
Members guidon Posted October 21, 2005 Members Report Share Posted October 21, 2005 Sensacional, estupenda, magnífica! Meu Deus, o que ela faz nesse filme não é brincadeira, não é exagro não, eu acho isso tudo msm. Quote Link to comment Share on other sites More sharing options...
Members Fernando Posted October 21, 2005 Members Report Share Posted October 21, 2005 Alias , a obra-prima absoluta (para mim) Kill Bill foi bem esnobada ... Uma Thurman merecia também pelo seu trabalho como a Noiva/Beatrix Kiddo . Quote Link to comment Share on other sites More sharing options...
Members FeCamargo Posted October 21, 2005 Members Report Share Posted October 21, 2005 Vc que sabe' date=' só queria q vc comentasse, mas se não quer, ok, humildemente peço desculpas. [/quote'] Guidon, vc tá cansado de saber oq eu acho sobre o Oscar 2005!...Principalmente sobre as vitórias de Eastwood, Menina de Ouro e Hilary Swank. Quote Link to comment Share on other sites More sharing options...
Members Fernando Posted October 21, 2005 Members Report Share Posted October 21, 2005 Voltando ao Oscar 2006 . Roger Ebert adorou Capote , North Country and Good Night , and Good Luck . Oscar Watch - October 21 , 2005 Ebert Four Stars for North Country , Capote , Good Night Raising the profile for three excellent films, Ebert dolled out the royal flush with four stars for Niki Caro's brilliant North Country, George Clooney's masterpiece, Good Night, and Good Luck, and the unforgettable Philip Seymour Hoffman starer, Capote. Thanks to Gambers in the forums for the heads up. Of North Country, Ebert Talks Oscar: "North Country" is the first movie by Niki Caro since the wonderful "Whale Rider." That was the film about a 12-year-old Maori girl in New Zealand, who is next in an ancestral line to be chief of her people, but is kept from the position because she is a woman. Now here is another woman who's told what she can't do because she is a woman. "Whale Rider" won an Oscar nomination for young Keisha Castle-Hughes, who lost to Charlize Theron. Now Theron and Caro will probably be going to the Academy Awards again. And of Good Night, And Good Luck: As a director, Clooney does interesting things. One of them is to shoot in black and white, which is the right choice for this material, lending it period authenticity and a matter-of-factness. In a way, b&w is inevitable, since both Murrow's broadcasts and the McCarthy footage would have been in b&w. Clooney shoots close, showing men (and a few women) in business dress, talking in anonymous rooms. Everybody smokes all of the time. When they screen footage, there is an echo of "Citizen Kane." Episodes are separated by a jazz singer (Dianne Reeves), who is seen performing in a nearby studio; her songs don't parallel the action, but evoke a time of piano lounges, martinis and all those cigarettes. And finally, he reserves his highest praise for Capote - and so far, it seems we have a lock for Best Actor, or at least a strong frontrunner in the greatly underrated Hoffman: "Capote" is a film of uncommon strength and insight, about a man whose great achievement requires the surrender of his self-respect. Philip Seymour Hoffman's precise, uncanny performance as Capote doesn't imitate the author so much as channel him, as a man whose peculiarities mask great intelligence and deep wounds. Site do Ebert http://rogerebert.suntimes.com/apps/pbcs.dll/frontpage Quote Link to comment Share on other sites More sharing options...
Members FeCamargo Posted October 21, 2005 Members Report Share Posted October 21, 2005 Acho difícil Hoffman perder esse Oscar, ainda mais agora com a possível saída de Sean Penn. Quote Link to comment Share on other sites More sharing options...
Members FeCamargo Posted October 21, 2005 Members Report Share Posted October 21, 2005 Alias ' date=' a obra-prima absoluta (para mim) Kill Bill foi bem esnobada ... Uma Thurman merecia também pelo seu trabalho como a Noiva/Beatrix Kiddo .[/quote'] Não acho que Kill Bill tenha sido esnobado, acho que ficou de fora devido a concorrência. Filmes que faziam mais o perfil dos membros entraram. Mas em termos de qualidade, não vejo como injustiça ou esnobada.FeCamargo38646.887337963 Quote Link to comment Share on other sites More sharing options...
Members Administrator Posted October 21, 2005 Members Report Share Posted October 21, 2005 Na boa, é só ver que "Kill Bill" ficou de fora e, por exemplo, "Ray" entrou. Na minha opinião, algo bem triste. Quote Link to comment Share on other sites More sharing options...
Members FeCamargo Posted October 21, 2005 Members Report Share Posted October 21, 2005 Na boa' date=' é só ver que "Kill Bill" ficou de fora e, por exemplo, "Ray" entrou. Na minha opinião, algo bem triste.[/quote'] Também prefiro Kill Bill Carioca, mas ele não faz o estilo da AMPAS, de forma nenhuma, seria muito difícil que entrasse. Quote Link to comment Share on other sites More sharing options...
Members Administrator Posted October 21, 2005 Members Report Share Posted October 21, 2005 Na boa' date=' é só ver que "Kill Bill" ficou de fora e, por exemplo, "Ray" entrou. Na minha opinião, algo bem triste.[/quote'] Também prefiro Kill Bill Carioca, mas ele não faz o estilo da AMPAS, de forma nenhuma, seria muito difícil que entrasse. Sim, sim, eu entendo. Infelizmente não faz o estilo dos caras, fazer o que... Em tempo: um post meu foi deletado ou é apenas impressão minha?El Carioca38646.9126273148 Quote Link to comment Share on other sites More sharing options...
Members guidon Posted October 21, 2005 Members Report Share Posted October 21, 2005 Não sei o que tá acontecendo com meus quotes Fernando. A respeito de Kill Bill só indicaria pra direção, atriz coadjuvante e edição. Filme tinha alguns bem melhores como Brilho Eterno, Closer. Mas sem dúvidas é um ótimo exercício de cinema, parabéns ao Tarantino. Ah, Uma está mto bem, agora David Carradine... Esse foi super superestimado, as cenas dele com a Noiva são o ponto mais fraco do filme pra mim e sua atuação não passa de adequada, quase mediana. Quote Link to comment Share on other sites More sharing options...
Members Christopher_P Posted October 22, 2005 Members Report Share Posted October 22, 2005 acho que, se Jarhead não for realmente um candidato a Oscar (o que eu ainda ñ acredito), e com o adiamento de All the King's Men aumenta bastante as chances de Brokeback Mountain e.... A Luta pela Esperança (blergh!) Quote Link to comment Share on other sites More sharing options...
Members guidon Posted October 22, 2005 Members Report Share Posted October 22, 2005 Cara, acho praticamente impossível Jarhead não ser material pra Oscar, eu inclusive apostaria nele como favorito para melhor filme e direção, vou torcer mto pra essa ser apenas uma opinião isolada. Quote Link to comment Share on other sites More sharing options...
Members Scarlet Rose Posted October 22, 2005 Members Report Share Posted October 22, 2005 Difícil. Acho que o Cronemberg leva o Oscar de direção. Quote Link to comment Share on other sites More sharing options...
Members guidon Posted October 22, 2005 Members Report Share Posted October 22, 2005 Ih, esse nem entra na minha lista por enquanto. Se não for Mendes acho que dá Ang Lee ou até Spielberg de novo, caso Munich seja premiável. Quote Link to comment Share on other sites More sharing options...
Members Bart Scary Posted October 22, 2005 Members Report Share Posted October 22, 2005 Olha só, não me importo mt se All The King's Men for lançado só ano que vem. O trailer desse filme me desanimou muito. Sobre essa discusão de Oscar 2005. Minha opinião é que: Menina de Ouro mereceu seu Oscar, assim como Clint, Morgan e Hilary. Isso é inegavel. Um filme muitissimo melhor que seu principal concorrente "O Aviador". Na minha opinião, Menina de Ouro está no mesmo nivel de Em Busca da Terra do Nunca, e as duas mortes em ambos os filmes foram mt emocionantes. Quote Link to comment Share on other sites More sharing options...
Members Scarlet Rose Posted October 22, 2005 Members Report Share Posted October 22, 2005 Ih' date=' esse nem entra na minha lista por enquanto. Se não for Mendes acho que dá Ang Lee ou até Spielberg de novo, caso Munich seja premiável. [/quote'] Ang Lee? Pode ser, mas a competição será dura...há muito buzz e torno do Cronemberg também. Será uma cerimonia interessante. Quote Link to comment Share on other sites More sharing options...
Members Cavalca Posted October 22, 2005 Members Report Share Posted October 22, 2005 Isso é inegavel. Bart, Bart... Quote Link to comment Share on other sites More sharing options...
Members guidon Posted October 22, 2005 Members Report Share Posted October 22, 2005 Concordo com o Bart, acho que é mto clara justiça dos prêmios do filme de Eastwood. Filme, direção, ator coad. e atriz (e olha que ela não era minha favorita, Annette Bening merecia). Mas claro, se O Aviador, Scorsese, Clive Owen ou Haden Church tivessem levado tbm seria justíssimo. Scarlete, eu acho que pode dar Ang Lee sim, ainda mais se ele transformar um tema tão tabu em uma coisa sensível, além do mais ele foi esnobado em 96 e perdeu um Oscar quase ganho (e merecido pois era o melhor)em 2001. Mas hj aposto mais no Mendes. Quote Link to comment Share on other sites More sharing options...
Members Administrator Posted October 22, 2005 Members Report Share Posted October 22, 2005 Ainda uma sobre o último Oscar: todos aqui assistiram "Kinsey"? O que acharam da atuação do Liam Neeson? Quote Link to comment Share on other sites More sharing options...
Members Dado Posted October 22, 2005 Members Report Share Posted October 22, 2005 Concordo com o Bart' date=' acho que é mto clara justiça dos prêmios do filme de Eastwood. Filme, direção, ator coad. e atriz (e olha que ela não era minha favorita, Annette Bening merecia). Mas claro, se O Aviador, Scorsese, Clive Owen ou Haden Church tivessem levado tbm seria justíssimo. Scarlete, eu acho que pode dar Ang Lee sim, ainda mais se ele transformar um tema tão tabu em uma coisa sensível, além do mais ele foi esnobado em 96 e perdeu um Oscar quase ganho (e merecido pois era o melhor)em 2001. Mas hj aposto mais no Mendes. [/quote'] Num ano que não deve haver nenhum grande Papa-Oscar,as indicações e as vitórias devem ser "espalhadas",acredito muito em Brokeback Mountain.Quase todas as críticas que li são positivas e inclusive,se é que meu inglês me deixou perceber corretamente estes pequenos detalhes,a academia pode vir a ser muito criticada se não premiar um filme excelente por causa do tema polêmico.Já houve casos eu sei,mas o buzz em torno de BBM está muito forte. Quote Link to comment Share on other sites More sharing options...
Members FeCamargo Posted October 22, 2005 Members Report Share Posted October 22, 2005 Muito bem gente: Confirmada a alteração da data de All The king's Men. Medavoy, produtor e cabeça do estúdio, informou que o filme será lançado no final de 2006. Ele se diz muito triste com isso, mas era necessário, pois se fossem cumprir as datas estabelecidades, eles não lançariam o All The King's Men que desejam. O filme acabou sua filmagem em Abril e desde lá Zaillian se concentra na complexa edição. Ainda a música de Horner também não está acabado, e ele e o estúdio não quiseram comprometer um filme que parece ser um poderoso papa-Oscar's, segundo as exibições prévias para ajustes. Ele comenta também que não se Spielberg conseguirá terminar Munich, pois sua fotografia principal ainda não terminou, sendo que começou em Julho. Ele informa ainda que talvez lançem o filme em Cannes ou New York para exibição de crítica, não se sabe se em competição ou fora dela. Quando souber de mais novidades, aviso! Quote Link to comment Share on other sites More sharing options...
Members Administrator Posted October 22, 2005 Members Report Share Posted October 22, 2005 O problema com Munique, segundo rumores, é a extensiva refilmagem de certas cenas, porque o produto final teria saído "muito a favor dos terroristas". Uma das primeiras críticas oficiais de Jarhead, e ultranegativa: Ed Gonzales: Quote: (* 1/2 out of ****)Bush Senior's Gulf War is the backdrop for Sam Mendes's banal and insignificant Jarhead, which aims for the humor and political sensitivity of Joseph Heller's Catch-22 and David O. Russell's Three Kings but trips and falls on its adolescent head in the process. The film gives credence at every turn to the jock-boy mentality of its horned-up troops, whose collective experience is insensitively reduced to a preposterous and elaborately sustained ejaculation metaphor. (The film would make an interesting double-bill with Lucile Hadzihalilovic's more artful but no-less questionable two-hour menstruation parable Innocence, which also climaxes with a figurative sexual release.) Unlike the war films it references throughout, Jarhead has no genuine political consequence, mounting a view of military masculinity that deflects the comedic and moral nuance satires like Three Things and M*A*S*H bravely and happily embrace. Given how strongly the film insists on striking its testosterone pose, Mendes might say he's too cool for political thought. No reason is given for why Anthony Swofford (Jake Gyllenhaal) and his fellow troops, referred to as jarheads, enlist in the army nor do the filmmakers feel their audience needs one. Whenever Anthony is asked about his family, namely his Vietnam veteran father, he says little or nothing at all. Mendes's astonishingly literal-minded visuals mirror this hesitancy and resistance via a series of dolly shots that pull out of snapshot-pretty tableaux of Anthony's home life. As the camera exits the kitchen where his mother is crying and, then, a room where his father reads the morning paper, the closing doors of these rooms make clear that Mendes wants to cut off his audience from Anthony's past. Rather than complicate the character, Mendes presents him as a blank slate who only wants to "get off"—if not exactly sexually then combatively on the war field. Anthony's need sees no rationale—it's just there, waiting to be intensified by his girlfriend's letters, which suggest she might be cheating on him with another man. Apocalypse Now and The Deer Hunter are watched by the jarheads at different points in the film. Both showings are unceremoniously interrupted—the first by a call to battle and the second by a soldier's wife, who has spliced footage of herself having sex with her next-door neighbor into the Michael Cimino film as a f**k-you to her husband. The troops' zealous reaction to Apocalypse Now not only underlines their bloodlust but suggests a form of sexual asphyxiation; when they're suddenly called to war, it's as if the belts around their necks have been yanked loose. The second scenario is intriguing because the soldier's wife contrives revenge against a husband for his own adultery by emasculating him in the presence of his buddies; it's as if she's interrupting a group orgy. This perpetual conflation of sex and war is not entirely uninteresting, but there's no crucial political dimension to round out the correlations. Sorry, but the every-war-is-different bow Mendes uses to tie the film with is just entirely too glib and unrelated to the story's drama to every register as a credible humane stance. Jarhead is steeped in music from its time, like C+C Music Factory's "Gonna Make You Sweat" and Nirvana's "Something In The Way." These songs are used ironically and unimaginatively, but in one scene Mendes cleverly utilizes "Break On Through" by The Doors to stress an infantile Anthony's desire to, again, "get off" (or, rather, shoot an Iraqi) and to only live in the present. Given this lazy attitude, you'd think Anthony would be more loathsome, except Mendes somehow manages to make him likeable (we're meant to sympathize with his failure to jack off to a picture of his girlfriend inside a bathroom stall). He's just a punk teenager who doesn't know better—which is what a lot of troops are except this adolescent mentality of Anthony's is never really up for debate. Gyllenhaal's character remains a cipher, namely because the actor isn't allowed to develop an expression beyond the comatose. When he walks into a patch of desert late in the film and beholds burnt bodies everywhere (it's the closest Mendes comes to capturing an effortlessly mythic vision of a pillaged world), you get a vague idea that the young man is going through an awakening of some kind—but what he's awakening from and to what spiritual plane he's been elevated to is never clear. The great thing about Three Things is how O. Russell isn't afraid to deal with race, using the antagonism between his characters to vibrantly reflect their manhood, brotherhood, and American values. Mendes's Desert Storm drama is just a kumbaya sausage factory of high-jinks. It ignores everything but the libido of its characters. This is why we never actually see the conversation the troops have about trying to tell Mexicans and Cubans apart (we only hear about it via Anthony's voiceover)—that conversation is ostensibly too loaded for a film with such sheepish and middlebrow (read: Oscar) ambitions to truly chew on. More important to Mendes is repeatedly striking a parallel between Anthony and his buddy Troy's (Peter Sarsgaard) obsessive need to kill someone and this idea of war as an excited phallus. Mendes thinks he's keeping things personal by never invoking the political systems that tug on that phallus, but that Anthony and Troy never actually kill someone—in spite of their efforts—doesn't even resonate as a comment on, say, the failure of the individual. Jarhead is just a juvenile war-as-dick metaphor that wants to leave it audience, like its characters, with a case of blue balls. Ed Gonzalez© slant magazine, 2005. Quote Link to comment Share on other sites More sharing options...
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