Oscar 2006

[Administrator]

Tapley detonou também com SRA. HENDERSON APRESENTA' date=' enquanto que o filme tem cara e focinho de comédia britânica indicada ao Oscar.

 

O cara está estranho.

[/quote']

1) Mas "Sra. Henderson Apresenta" não é grande coisa mesmo.

 

 

Muitos filmes não são, e ainda assim são indicados... Basta lembrar de Chocolate... 

[Stradivarius]

O Ed González é um dos piores críticos do RT. Pode ver que ele quase sempre é do contra, até O Fabuloso Destino de Amélie Poulain ele detonou!

[Administrator]

E ele gostou do detestável Três Reis, que não obteve indicação nenhuma ao Oscar. Cruzes.

 

Aliás, The White Countess dificilmente será indicado para Melhor Filme, graças à sua limitadíssima estréia em 21/12. Não é esse tipo de filme que costuma imperar entre nomes maiores com estratégias de lançamento como essa.

Gustavo²38647.5153009259

[Fernando]

Ed Gonzalez é detestável  e adora ser do contra .Não é a toa que o pessoal da Contracampo (também detestável e do contra) o adora . Gonzalez também gosta de ser engraçadinho , portanto não é muito confiável .<?:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

Fernando38647.5467476852

[saulomeri]

Se se confirmar a queda de JARHEAD, assim como a confirmada saída de ALL THE KING'S MEN, pra mim Terence Mallick e Ang Lee passam a ser os favoritos as indicações e, quem sabe, a vitória.

É lógico que devemos aguardar o caso Munich, eu sinceramente acho que só falta a confirmação do adiamento do mesmo. Se a fotografia principal nem terminou! Como será feita a pós-produção!

Dessa forma acredito que ficará mesmo entre Ang Lee e Terence Mallick (mesmo com Colin Farrell). Entre os dois aposto em Lee.

[saulomeri]

Ainda uma sobre o último Oscar: todos aqui assistiram "Kinsey"? O que acharam da atuação do Liam Neeson?

Eu assisti Kinsey. Achei um filme agradável, com um excelente roteiro e belas atuações de Laura Linney e, principalmente, Peter Saarsgard. Quanto a Liam Neesson. Não sou muito fã do trabalho dele, gostei dele em A Lista de Schindler. Neste filme ele faz sim um bom trabalho, mas não acho digno de Oscar.

[Administrator]

Eu continuo achando que Malick vai vencer, mas não encontro uma pessoa que compartilhe minha visão.

[crawford]

Eu não consigo ententer o que está acontecendo com Jarhead.

[The_XorN]

El Carioca Escreveu:

Ainda uma sobre o último Oscar: todos aqui assistiram "Kinsey"? O que acharam da atuação do Liam Neeson?

 

Assisti Kinsey, gostei do filme, muito bom, acho que Liam Neeson está ótimo no papel, tanto ele quanto Laura Linney. Mas não é um filme Oscar, acho que o Globo de Ouro já chegou.

The_XorN38647.546712963

[crawford]

Ainda uma sobre o último Oscar: todos aqui assistiram "Kinsey"? O que acharam da atuação do Liam Neeson?

Eu também vi Kinsey. E achei um bom filme, Liam Neesson, Laura Linney e Peter Saarsgard tem ótimos trabalhos. Mas também não acho material pro Oscar.

[Stradivarius]

Eu continuo achando que Malick vai vencer' date=' mas não encontro uma pessoa que compartilhe minha visão.[/quote']

Eu estou apostando no filme do Malick por ser um dos meus diretores preferidos. Pelo menos estou torcendo pra ele!

[Fernando]

Tambem estou apostando em Malick .

[FeCamargo]

Duvido muito que Sam Mendes tenha feito algo no mínimo não indicavél em categorias técnicas. Continuo achando que Jarhead é um Oscar Favorite, e com a saída de All The King's Men, volto a colocar The New World nas minhas previsões...mas eu vou postá-las somente em Novembro. FeCamargo38647.577662037

[FeCamargo]

Eu não consigo ententer o que está acontecendo com Jarhead.

Na realidade não está acontecendo nada, esse pseudo-crítico do RT, que não é nada confiável para mim, não influencia em nada. O filme só estréia no dia 04/11. Portanto, vamos aguardar!

[Christopher_P]

Eu continuo achando que Malick vai vencer' date=' mas não encontro uma pessoa que compartilhe minha visão.[/quote']

eu também acho que o Mallick vai vencer. Acredito que Novo Mundo vai ser o grande filme do ano.

E to achando também que Munich vai ser o Alexandre do ano.

[FeCamargo]

Eu continuo achando que Malick vai vencer' date=' mas não encontro uma pessoa que compartilhe minha visão.[/quote']

eu também acho que o Mallick vai vencer. Acredito que Novo Mundo vai ser o grande filme do ano.

E to achando também que Munich vai ser o Alexandre do ano.

EU concordo, mas não com tenta ênfase sobre The New World!

Agora sobre Munich, será mesmo? Não sei..eu ainda acho que ele vai se adiado para o ano que vem.

[MERI BRASIL]

Também acho que Munich será adiado pro próximo ano.

Agora entre Terence Mallick e Ang Lee, por enquanto, estou apostando em Ang Lee.

[FeCamargo]

Good Night and Good Luck, se estivesse com data de estréia para Dezembro, seria o meu favorito ao Oscar!

[Administrator]

Alguém já postou este brilhante artigo de Sasha Stone sobre a incerteza dos próximos filmes a serem lançados nesta Oscar season? É muito bom:

October 20, 2005

Heading into the Thick of it – Time to Wipe the Slate Clean

(or, “Do You Need Another Oscar Article Like You Need a Hole in the Head?”)

Part 1: The Majors - Best Picture
by Sasha Stone

As depressing as it is, most of Oscar’s favorite films are skimmed off the top from the last two months of the year, often even in the last two weeks. The first half of the year can sometimes yield a big winner, if it hits with a bang and is talked about throughout the year, does not yield to another film and by the time the Oscars come around the film has long since been woven into the fabric of pop culture. The Silence of the Lambs, a film no one has forgotten, is one such film. Usually, though, and especially lately, that’s not the case.

No, these days, the Academy doesn’t appear to have the ability to stay in love with a film by the time Christmas rolls around. They suffer from short-term memory loss. It has to be new; it has to be fresh; it has to be sexy. Yes, we refer to it as the cluster-f*#k that runs between December through February.

It plays out like a page from Our Bodies, Ourselves: the film must be pushed at exactly the right time for maximum fertility benefits – usually the moment after ballots are mailed and must be filled out. Like rabid mammals controlled by a lifeforce evolved over millennia, Oscar voters react with their emotions without thinking too much of future consequences. Film history be damned (Citizen Kane vs. How Green Was My Valley, Raging Bull vs. well, you know the score). They vote for what they like. As Woody Allen famously said, the heart wants what it wants.

But now, we’re just about to enter the seduction phase. All of the available films are about to lay themselves out for the picking. The ads are getting ready to roll in the trades (and are now being shown to SAG voters in their member magazine); the actors are preparing for the whirlwind publicity tour wherein someone will have to be a breakout find – a Jamie Foxx, a Kevin Spacey, an Emma Thompson – the person everyone loves and is entertained by, briefly, through voting season. Will they be remembered long enough for those ballots to be mailed back? More importantly, which film will they like enough to proclaim it the winner, holding the arguable title of “Best Picture of the Year.”

Like mating, it has to feel good to be effective when they jot down their choices for the winners of the year, which generally means, either A) the girl was purty; the subject matter of great import – Schindler’s List, American Beauty, even Million Dollar Baby all appeared to have something important about them; or C) was it too enjoyable to ignore, import be damned? Chicago, Around the World in 80 Days, Gladiator.

But let’s say for the hell of it, the Academy DIDN’T have short-term memory loss – what if they DID judge all films equally, whether released in February or December? Which films would survive and still seem fresh enough to be worthy of their important vote? Remember, we’re not being the guy who has his choice of prettiest girl in the village for mating purposes; we’re talking about the guy who picks the right girl, whether she makes him feel good momentarily or not.

And then there’s the question of box office – none of the movies mentioned above have the necessary box office for the usual best pic nominee and that’s where all of them could be checked off the list immediately. On the other hand, box office isn’t everything – what we’ve been seeing lately, not in huge amounts, is a disconnect between movies the public loves and movies the Academy rewards, hence the lower ratings for the telecast. When a popular movie makes it to the Oscars more people watch the show. But we don’t care about the show, not right now. The disconnect might work in favor of smaller films that are just too good to ignore, Good Night being one, Constant Gardener being another, Crash being yet still another.

Best Picture
Cinderella Man had probably the most going into it of the films so far this year – even with the Russell Crowe telephone-throwing debacle trailing it like a piece of toilet paper stuck to its heel. The film was important, entertaining, top-to-bottom a quality movie, and Oscar-friendly. But its production budget is still listed on Box Office Mojo as being higher than its box office take, which could be an even worse problem than its early release date. Word has it Academy screenings have gone well. But still, how sexy can a critic feel putting that film down as Best Pic? Doubtful the critics will put their weight behind it. The National Board of Review could give it a lift by crowning it their Best Pic but they usually pick films that are little more quirky. They might go for The Constant Gardener or Good Night, And Good Luck, but they also might pick Brokeback Mountain, which hasn’t even been released yet but seems to have National Board of Review written all over it.

When Million Dollar Baby came along and cut through all of the fat last year, it had the surprise element going for it and nothing felt sexier or fresher than rewarding The Clint yet again. If a film has the power to do that it hasn’t yet shown its face. Most of the films vying for the big prize have been talked about and talked about on websites and in articles – Memoirs of a Geisha, The Producers, Jarhead, Brokeback Mountain, and of course, the big kahuna itself, Munich.

George Clooney’s Good Night, And Good Luck is a film that deserves to be included on the Oscar best pic short list. It has nearly everything an Oscar best pic needs: star-actor-turned-director, important subject, magnificent ensemble acting, brilliant writing, gorgeous cinematography and art direction. There are few films that cut as close to the bone as this one – it informs our present culture by taking a look back at our past.

Interestingly, many of the best movies this year have a common theme – taking on the establishment. A conservative government often produces memorable art, which could be the reason why we have such great work so far, like Good Night, but also The Constant Gardener, which takes a look at our relationship with Africa, how we’re helping, how we’re hurting.

Crash, which deals with racism that persists every day, on every street in Los Angeles, could earn a surprise fifth slot for Best Pic but it’s going to need a lot of critical support at this point. Crash has managed to retain its freshness beyond its sell-by date, but it has some tough competition in The Constant Gardener, which has an unforgettable performance by Ralph Fiennes. A History of Violence could end up being the Mulholland Drive of this year – a critics darling (what could be more sexy and defiant than going for Cronenberg over, say, Spielberg) with perhaps a well-deserved Best Director nod for Cronenberg.

But in all likelihood, none of these films will get anywhere near Best Pic. They will most likely have to settle for being perhaps a screenplay nominee and/or a footnote in Damien Bona’s next Inside Oscar, under “films that weren’t nominated.” Usually the critics get behind one movie and make their voice heard among the many – Sideways was that film last year. The critics shouted and the Academy listened. Sideways was well-deserving of its accolades and is one of the few films last year that continues to resonate.

Usually it starts with one critic’s top ten list (Peter Travers of Rolling Stone is generally the first). Then the National Board of Review. And the cards fall from there. The Globes give a few movies a lift – but, honestly, if a film isn’t really supported by the critics and gets a few Globes comedy nods, that doesn’t mean a whole lot. On the other hand, there’s always the drama category, which can lift a film from utter oblivion to the Oscars, like Scent of a Woman. Lately, and sadly, the Globes and the Oscars have been too close for comfort, rendering the entire season lifeless.

But here’s the thing. Don’t believe ANYTHING you read about which films are going to get there. No one has any clue at this point, beyond Munich. And no one knows yet if it’s going to be Schindler’s List, Saving Private Ryan, Empire of the Sun or Always. If Walk the Line does hellagood in the flyover states, you’re looking at a Best Pic nominee – not just a film that gets Reese Witherspoon and Joaquin Phoenix nominated. Everyone is predicting Memoirs of a Geisha but that has Rob Marshall at the helm – who hasn’t yet proved he can direct features beyond the musicals he choreographs so well. Brokeback Mountain will either fly like gangbusters or freak out the Academy. And then there are the wild cards. Jarhead, which looks like Oscar nominee, has the right people behind it and the right subject matter – but it could be yet another Road to Perdition, with everything but the essential sexiness (or whatever it was it lacked) it needs to make the final cut.

We’re looking at, so far, a very male-driven season but can the women compete? Can Niki Caro’s (pictured) North Country do anything beyond a nod for Charlize? Trouble with that is that there is no more macho group than the directors in the Academy. Not only do they often pick the sexiest director of the bunch (by sexy, we refer to, not that they want to sleep with him but that by choosing him they are somehow identified with that choice – which makes them feel sexy and alive). So, in their choices to include female directors in the past (few and far between) they’ve always been the flavor of the month. And usually, with Sofia Coppola the exception, they pick foreigners. So Niki Caro has that going for her. She is not, at this point, however, the flavor of the month. No one is writing articles yet declaring her a genius, the kind of ink Jane Campion or Sofia Coppola got. No, I’m afraid it will be another five males – Cronenberg, Merielles, Clooney (especially Clooney) all have good chances to be the one chosen for the director-whose-film-wasn’t-nominated slot.

So, in sum: don’t believe everything you read just yet. Wait a month or two and then start believing. The general consensus is almost always right about the Oscars – sad but true. There is still a long way to go before the fat lady sings – and here’s to hoping that this year proves different from other years and that the first two thirds of the year, the very best films won’t be forgotten.

[-felipe-]

Muito bem gente:

 

Confirmada a alteração da data de All The king's Men.

 

Medavoy' date=' 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']

 

O que é fotografia principal?

[Bart Scary]

Isso é inegavel.

Bart' date=' Bart...

[/quote']

Bart Bart o que ??

Se tem alguma coisa pra falar, fale tudo e na hora. Poste alguma coisa construtiva, ou algo que faça agente ter uma discussão interessante. Será que vc consegue ?? Ou tem medo de entrar numa discussão com o Bart ?? heim ??

[guidon]

O Bart é uma figura!  Bem, já que é para aprimorar a qualidade do filme, fico feliz por ATKM ter sido adiado.  Jahread ainda é meu favorito, junto com Mendes, que deve ter em Brokeback Mountain e Ang Lee seus maiores rivais.  Assisti a Kinsey, é um bom filme, ótimo roteiro, excelentes atuações do Neeson, Linney e Sarsgaard.  Este último deveria ter entrado no lugar do Jamie Foxx, já Neeson, até que merecia, mas eu preferia ver Jim Carrey ou Havier Barden no lugar dele.

[-felipe-]

Quanto a Kinsey, eu achei as atuações muito boas, mas achei que o filme deixou um pouco a desejar... Achei meio formulaico. E vcs viram o final alternativo (presente no dvd)? Se aquilo realmente fosse usado aí sim acabaria com o filme!

[Stradivarius]

Ok, depois de assistir Good Night, and Good Luck, eu acho que, das 8 categorias do Bolão, ele tem grandes chances em:

- ator (Strathairn)
- roteiro

E boas chances em:

- filme (pode ser o independente da vez, junto com Brokeback Montain)
- direção

 

[Cavalca]

Isso é inegavel.

Bart' date=' Bart...

[/quote']

Bart Bart o que ??

Se tem alguma coisa pra falar, fale tudo e na hora. Poste alguma coisa construtiva, ou algo que faça agente ter uma discussão interessante. Será que vc consegue ?? Ou tem medo de entrar numa discussão com o Bart ?? heim ??

Sim, Bart, eu MORRO DE MEDO de ter uma discussão com você...