Oscar 2006

[Ronny]

Mas' date=' afinal, os criticos estao gostando de THE WHITE COUNTESS????[/quote']

???

[saulomeri]

Se Munich conseguir estrear' date=' acho que papa o Oscar de filme e diretor, entre outros.[/quote']

Olha, com os principais adversários "tropeçando", se o filme de Spielberg for de qualidade, como ele sabe fazer, só não faz porque não quer (fica querendo agradar a não sei quem!) e estrear este ano (como já afirmei aki, duvido muito). É muitíssimo provável que ele pape os premios principais, até porque acho que a Academia não teria a mínima vergonha de lhe dar um terceiro Oscar! 

No entanto, aindo estou de olhos abertos para Brokeback Mountain! Eu sei que o filme tem um tema delicado, mas pra mim ele tem cara demais de Oscar!

saulomeri38657.709837963

[FeCamargo]

Mas' date=' afinal, os criticos estao gostando de THE WHITE COUNTESS????[/quote']

???

Disseram não ser material para Oscar Ronny! Fiennes foi muito elogiado e o usuário disse que ele pode conseguir um Oscar por sua atuação.

[Fernando]

Reese on the Rise

Walk the Line continues to gather momentum - it's the movie everyone is excited about, if for no other reason, than to see Joaquin Phoenix do Johnny Cash (and who doesn't love Johnny?) but the real frontrunner in the project (though we fully expect it to be nommed for all of the major categories) is Reese Witherspoon, who is so far garnering the kind of early buzz that Oscar winners are made on. Too early to call a winner? Perhaps. But Reese has what a female winner needs: good looks, potential to spare, stable personal life - and everybody just likes her, they really really like her. It's time to bring her into the club. Add to that, June Carter Cash was a likable and heroic person. Reese takes the frontrunner's spot. Here's what Kirk Honeycutt of the Hollywood Reporter had to say about her:

Joaquin Phoenix and Reese Witherspoon give strong acting and singing performances in the Johnny Cash biopic "Walk the Line." Playing the legendary Man in Black, Phoenix displays a surprisingly good voice and the ability to imitate Johnny's deep bass. As his second wife, singer June Carter, Witherspoon delivers a knockout performance as a woman who must temper her passion with an unwillingness to witness her man's self-destruction.

And Variety's Todd McCarthy likewise is taken away by the two leads (are we looking as another As Good as it Gets year, where an epic takes best pic while two leads from another film take the top acting prizes?)

Reese Witherspoon does a sensational job as lifelong performer June Carter, while Joaquin Phoenix gains in conviction as pic builds to put over a very credible Johnny Cash. Their surprisingly good vocal perfs on the many well-known songs are icing on the cake.

Whether Ms. Witherspoon can take it home will depend on the competition.

Walk the Line [Hollywood Reporter]
Walk the Line [Variety]

[meninocezar]

Brokbeck Moutain (ang lee) e the constant gardner (fernando meirelles) são presenças garantidas no oscar 2006?

[saulomeri]

O link abaixo tem um texto bem interessante sobre as possibilidades do próximo Oscar.

http://theenvelope.latimes.com/movies/env-bestpic1nov01,0,63 92546.story

[meninocezar]

Brokeback teve uma boa recepção na mostra internacional de cinema de sao paulo, isso seria um fato isolado, ou realmente ang lee volta a acertar a mão novamente? Gosto da segunda opção.

[Mariana M.]

Encontrei o trailer (teaser) de The Libertine:

 

http://www.ifilm.com/ads/asl/fullscreen/index.jsp?uri=http:/ /www.ifilm.com/ifilmdetail/2680358?htv=12&htv=12

[-felipe-]

Vcs ainda apostam na indicação de Saarsgard?

[Christopher_P]

vamu lá. Atualizando previsões

MELHOR FILME

Novo Mundo

Walk the Line

A Luta Pela Esperança

King Kong

Good Night and Good Luck

outros candidatos reais: Brokeback Mountain, Munich, The Producers, Mrs. Handerson Presents, Crash, Memoirs of a Geisha, Syriana, Capote, Marcas da Violência, The White Countness

MELHOR DIRETOR

Terrence Mallick, Novo Mundo

Peter Jackson, King Kong

James Mangold, Walk the Line

Ang Lee, Brokeback Mountain

George Clooney, Good Night and Good Luck

outros candidatos reais: Ron Howard - Cinderella Man, David Croneberg - Marcas da Violência, Steven Spielberg - Munich, Woody Allen - Match Point, Fernando Meirelles - O Jardineiro Fiel, Rob Marshaal - Memoirs of a Geisha, James Ivory - The White Countness

MELHOR ATOR

Joaquin Phoenix - Walk the Line

David Strathairn - Good Night and Good Luck

Phillip Seymour Hoffman - Capote

Heath Ledger - Brokeback Mountain

George Clooney - Syriana

outros candidatos reais: Tommy Lee Jones - The 3 Buriels, Eric Bana - Munich, Johnny Depp - The Libertine, Ralph Fiennes - The White Countness, Russel Crowe - A Luta Pela Esperança, Nathan Lane - The Producers, Viggo Mortensen - Marcas da Violência, Jeff Daniels - The Squid and the Whale

MELHOR ATRIZ

Reese Witherspoon - Walk the Line

Judi Dench - Mrs. Handerson Presents

Charlize Theron - North Country

Q'Orianka Kilcher - Novo Mundo

Gwyneth Paltrow - Proof

outras candidatas reais: Diane Keaton - The Family Stone, Felicity Huffman - Transamerica, Joan Allen - A Outra Face da Raiva, Zhang Ziyi - Memoirs of a Geisha, Natasha Richardson - The White Countness

ATOR COADJUVANTE

Bob Hoskins - Mrs. Handerson Presents

Christopher Plummer - Novo Mundo (ou Syriana)

Paul Giamatti - A Luta Pela Esperança

Matt Dillon - Crash

Clifton Collins Jr. - Capote

outros candidatos reais: Frank Lattega - Good Night and Good Luck, Barry Pepper - The 3 Buriels, Craig T. Nelson - The Family Stone, Adrien Brody - King Kong, Geoffrey Rush - Munich, Don Cheadle - Crash, Jake Gyllenhaal - Brokeback Mountain, Richard Jenkins - North Country, Jamie Foxx - Jarhead, Peter Sarsgaard - Jarhead, Matthew Broderick - The Producers

ATRIZ COADJUVANTE

Scarlett Johansson - Match Point

Rachel Weisz - O Jardineiro Fiel

Shirley MacLaine - In Her Shoes

Naomi Watts - King Kong

Maria Bello - Marcas da Violência

outras candidatas reais: Uma Thurman - The Producers, Michelle Williams - Brokeback Mountain, Amy Adams - Junebug, Sarah Jessica Parker - The Family Stone, Gong Li - Memoirs of a Geisha, Michelle Yeoh - Memoirs of a Geisha, Marie-Josée Croze - Munich, Sandra Bullock - Crash, Frances McDormand - North Country

ROTEIRO ORIGINAL

Crash

Good Night and Good Luck

Novo Mundo

Match Point

A Luta Pela Esperança

outros candidatos reais: The Family Stone, Mrs. Handerson Presents, The 3 Buriels, The Squid and the Whale, Syriana (?)

ROTEIRO ADAPTADO

Walk the Line

Capote

Brokeback Mountain

O Jardineiro Fiel

Marcas da Violência

outros candidatos reais: King Kong, Munich (?), Memoirs of a Geisha, In Her Shoes

[Ronny]

awards preview

oscars 2005

by big ted (alfonso magana)

With the fall movie season under way, many Oscar contenders have now begun to fall off the map. Films like Elizabethtown, Oliver Twist, The Prize Winner of Defiance, Ohio and Everything is Illuminated have died with critics and audiences. All the King’s Men, A Prairie Home Companion and Ask the Dust are now officially to be released in 2006. There are still a few films that despite floundering at the box office, might have potential with their prestige and possible precursor awards. Proof still has a shot with Gwyneth Paltrow, while In Her Shoes will have to wait with bated breath if Shirley MacLaine can still manage a comeback nomination.

As we head towards the award season, we are learning more on category placements as For Your Consideration ads are beginning to show up in the trades. Confirmed as lead are Q’Orianka Kilcher (The New World), Reese Witherspoon (Walk the Line) and Renée Zellweger (Cinderella Man). Confirmed as supporting are Toni Collette (In Her Shoes), Kevin Costner (The Upside of Anger), Jake Gyllenhaal (Brokeback Mountain), Sarah Jessica Parker (The Family Stone) and Rachel Weisz (The Constant Gardener).

For best picture, the current frontrunners include Brokeback Mountain (winner at Venice); Good Night, and Good Luck; Memoirs of a Geisha (recently helped by All the King’s Men moving to 2006); Walk the Line and Steven Spielberg’s Munich. Jarhead will need a strong box office to stay in the race, while critics need to rally to keep The New World afloat. Woody Allen’s Match Point is still a question mark as DreamWorks picked an awful release date (a limited release on Christmas Day) but the film’s strong reception at Cannes means that it is likely to show up in Original Screenplay and either Lead or Supporting Actress (still no word on where Scarlett Johansson will be placed). Lastly, Syriana seems to have all the right stuff to make a big impact in all the top categories: a respectable cast, an Oscar winning writer and a very relevant subject matter.

If voters think back and reward an earlier film, Crash could be the recipient. The buzz over the film continues and even those who hate it are still talking about it (for better or worse). Cinderella Man could be a bigger threat if only they hadn’t already rewarded Ron Howard, Brian Grazer, Russell Crowe and Zellweger. Paul Giamatti, with a weak supporting actor race, could still make a showing. If voters want comedy, there’s The Family Stone although the trailer smacks of last year’s Spanglish; or The Producers, which will no doubt be at least nominated for its new song. Mrs. Henderson Presents also fits the bill and it’s British. Another British entry is The White Countess, although we still know very little about it. If they go for a smaller film, A History of Violence could benefit, as can The Three Burials of Melquiades Estrada, which has Tommy Lee Jones’ directing debut.

Just like last year, best actor is full of contenders. Unlike last year, there are three frontrunners for not just the nomination, but the win too. Philip Seymour Hoffman (Capote), Joaquin Phoenix (Walk the Line) and David Strathairn (Good Night, and Good Luck) all received tremendous critical accolades from Toronto that it would be a big surprise if any of three failed to get an Oscar nomination at this point. So who stands a shot of joining them on Oscar night? Eric Bana plays the lead in Munich, although he would need raves as Spielberg’s films do not necessarily need corresponding acting nominations. George Clooney’s work in Syriana could go either way right now, especially if he does not want to compete with Strathairn from his own film. Ralph Fiennes has two strong possibilities with The Constant Gardener and The White Countess; it will likely depend on which does well overall throughout the season. Tommy Lee Jones will hope that his Cannes victory will translate to Oscar glory, although the last actor who won at Cannes and receive an Oscar nod was Gérard Depardieu in 1990 for Cyrano de Bergerac. Finally, the two male ingénues of the category, Heath Ledger and Jake Gyllenhaal (both headline Brokeback Mountain) may just have to settle with Golden Globe nods. Ledger will have an easier time trying to get in, especially if the film takes off, but even if Jarhead does well, the past has not been too kind with young leads in war films (see the snubs of Matthew Modine in Full Metal Jacket and the Sheens, Martin in Apocalypse Now and Charlie in Platoon). Gyllenhaal however will have second shot in supporting with Mountain.

The category of best actress started off with lots of contenders, but now it is the emptiest of the four acting races. Basically this category is slowly turning into the Reese Witherspoon show. Walk the Line got her lots of good reviews in Toronto, but it’s what the other contenders are lacking that helps her. Joan Allen received raves for her performance in The Upside of Anger and while the film was released early, this category is the very generous to ladies in films from the early part of the year (see nods for Diane Lane, Zellweger the first time and winner Julia Roberts). After seeing nominations for Keisha Castle-Hughes (Whale Rider) and Catalina Sandino Moreno (Maria Full of Grace), we could see another fresh face, this time Q’Orianka Kilcher, score a nod as well for The New World. All the early reports say that it is more her film than anything. If The White Countess does well, Natasha Richardson could see herself in the same position as Emma Thompson who won for her first nomination in a Merchant-Ivory film. Richardson will be playing opposite her mother Vanessa Redgrave and aunt Lynn Redgrave, who could land supporting nods. Charlize Theron has to be counting on voters to remember those reviews for North Country as the film is tanking at the box office. Proving herself so soon after winning for Monster will likely benefit Theron. Johansson, if lead for Match Point, will probably have no trouble getting in, as they owe her one and Woody Allen has managed to get his actors in many times. Felicity Huffman has been grabbing festival honors left and right for Transamerica and along with the highly respected Judi Dench for Mrs. Henderson Presents, she is part of the newly formed The Weinstein Company. Can Harvey Weinstein score two best actress nominees right off the bat? And will the Academy continue its openness towards minorities as of late by nominating Ziyi Zhang for Memoirs of a Geisha?

The supporting categories are more muddled, as we do not know which co-stars will have the bigger push and who will end up with the right amount of precursor attention. Doesn’t hurt to try to guess though. First are those actors who will try to coattail the film or the leading performance. Those fitting the pattern include, Clifton Collins Jr. (Capote), Kevin Costner (The Upside of Anger), Bob Hoskins (Mrs. Henderson Presents), Richard Jenkins (North Country), Frank Langella (Good Night, and Good Luck), and Barry Pepper (The Three Burials of Melquiades Estrada). Then there are the leading performances trying to pass as supporting. Costner and Pepper fit that bill, ditto Jake Gyllenhaal (Brokeback Mountain), Matt Damon (Syriana) and Jonathan Rhys-Meyers (Match Point). Then there are those whose roles are unknown in terms of screen time. Brian Cox (Match Point), Daniel Craig (Munich) and Christopher Plummer for The New World and Syriana are three such unknowns at this point. Add to this those who have been snubbed just recently like Peter Sarsgaard (Jarhead) and Paul Giamatti (Cinderella Man). And no category would be complete without mentioning Mr. Ray Charles, nee Jamie Foxx who has been receiving the majority of the favorable ink for Jarhead. We do need at least one person to return from last year’s nominees, as is usually the case. Hey ho!

In supporting actress, the formula is almost the same with a few major changes. There is the critical favorite like Amy Adams for Junebug, whose raves began at Sundance with their Jury Prize award. The previous nominee, in a film where it’s all about the lead performer, but who stands a chance to receive a bandwagon nomination. Catherine Keener in Capote and Frances McDormand in North Country are prime examples. Then there are those who are owed a nomination, such as Maria Bello for A History of Violence, Gong Li and Michelle Yeoh for Memoirs of a Geisha and Scarlett Johansson for Match Point (and if she is submitted here, we could potentially have our winner). Johansson’s co-star Emily Mortimer could get in, especially if voters are really taken by Woody Allen’s comeback. Uma Thurman will likely have the best role in The Producers and there are still many who are bitter that she was not nominated for either Kill Bill film. Finally there are three ingénues this year and voters like to nominate them in this category. Syriana’s sole female role in the cast is Amanda Peet who plays Matt Damon’s wife, while Rachel Weisz received lots of critical attention for The Constant Gardener. Lastly, if voters cannot decide between the boys of Brokeback Mountain, they can possibly nominate the girls, Anne Hathaway and Michelle Williams. Hathaway has been pegged as one of a few actresses who can possibly crossover to more serious films, but Williams got the majority of praise at Toronto.

Best Picture:

Tier I:
Brokeback Mountain
Good Night, and Good Luck
Jarhead
Match Point
Memoirs of a Geisha
Munich
The New World
Syriana
Walk the Line

Tier II:
Cinderella Man
Crash
The Family Stone
Mrs. Henderson Presents
A History of Violence
The Producers
The Three Burials of Melquiades Estrada
The White Countess

Best Director:

Tier I:
Ang Lee, Brokeback Mountain
George Clooney, Good Night, and Good Luck
David Cronenberg, A History of Violence
Sam Mendes, Jarhead
Woody Allen, Match Point
Steven Spielberg, Munich
Terrence Malick, The New World

Tier II:
Ron Howard, Cinderella Man
Paul Haggis, Crash
Rob Marshall, Memoirs of a Geisha
Stephen Gaghan, Syriana
Tommy Lee Jones, The Three Burials of Melquiades Estrada
James Mangold, Walk the Line
James Ivory, The White Countess

Best Lead Actor:

Tier I:
Eric Bana, Munich
George Clooney, Syriana
Ralph Fiennes, The White Countess
Jake Gyllenhaal, Jarhead
Philip Seymour Hoffman, Capote
Tommy Lee Jones, The Three Burials of Melquiades Estrada
Heath Ledger, Brokeback Mountain
Joaquin Phoenix, Walk the Line
David Strathairn, Good Night, and Good Luck

Tier II:
Matthew Broderick, The Producers
Russell Crowe, Cinderella Man
Jeff Daniels, The Squid and the Whale
Johnny Depp, The Libertine
Colin Farrell, The New World
Ralph Fiennes, The Constant Gardener
Terrence Howard, Hustle & Flow
Nathan Lane, The Producers
Viggo Mortensen, A History of Violence
Cillian Murphy, Breakfast on Pluto
Bill Murray, Broken Flowers
Jonathan Rhys-Meyers, Match Point

Best Lead Actress:

Tier I:
Joan Allen, The Upside of Anger
Judi Dench, Mrs. Henderson Presents
Felicity Huffman, Transamerica
Scarlett Johansson, Match Point
Q’Orianka Kilcher, The New World
Natasha Richardson, The White Countess
Charlize Theron, North Country
Reese Witherspoon, Walk the Line
Ziyi Zhang, Memoirs of a Geisha

Tier II:
Jennifer Aniston, Rumor Has It
Juliette Binoche, Bee Season
Claire Danes, Shopgirl
Cameron Diaz, In Her Shoes
Diane Keaton, The Family Stone
Keira Knightley, Pride & Prejudice
Gwyneth Paltrow, Proof
Renée Zellweger, Cinderella Man

Best Supporting Actor:

Tier I:
Clifton Collins Jr., Capote
Kevin Costner, The Upside of Anger
Brian Cox, Match Point
Daniel Craig, Munich
Matt Damon, Syriana
Jamie Foxx, Jarhead
Paul Giamatti, Cinderella Man
Jake Gyllenhaal, Brokeback Mountain
Bob Hoskins, Mrs. Henderson Presents
Richard Jenkins, North Country
Frank Langella, Good Night, and Good Luck
Barry Pepper, The Three Burials of Melquiades Estrada
Christopher Plummer, The New World
Christopher Plummer, Syriana
Jonathan Rhys-Meyers, Match Point
Peter Sarsgaard, Jarhead

Tier II:
Christian Bale, The New World
Gary Beach, The Producers
Don Cheadle, Crash
Chris Cooper, Syriana
Matt Dillon, Crash
Terrence Howard, Crash
William Hurt, A History of Violence
Craig T. Nelson, The Family Stone
Geoffrey Rush, Munich
Kurt Russell, Munich
Alexander Siddig, Syriana
Ken Watanabe, Memoirs of a Geisha
Jeffrey Wright, Syriana

Best Supporting Actress:

Tier I:
Amy Adams, Junebug
Maria Bello, A History of Violence
Scarlett Johansson, Match Point
Catherine Keener, Capote
Gong Li, Memoirs of a Geisha
Frances McDormand, North Country
Emily Mortimer, Match Point
Amanda Peet, Syriana
Rachel Weisz, The Constant Gardener
Michelle Williams, Brokeback Mountain
Uma Thurman, The Producers
Michelle Yeoh, Memoirs of a Geisha

Tier II:
Jennifer Aniston, Derailed
Sandra Bullock, Crash
Toni Collette, In Her Shoes
Marie-Josée Croze, Munich
Ginnifer Goodwin, Walk the Line
Anne Hathaway, Brokeback Mountain
Laura Linney, The Squid and the Whale
Shirley MacLaine, In Her Shoes
Thandie Newton, Crash
Sarah Jessica Parker, The Family Stone
Lynn Redgrave, The White Countess
Vanessa Redgrave, The White Countess
Jean Smart, Munich

[Ronny]

Hard Core - Politics and Culture in the 2006 Oscar Movies

The New America: Fighting Our Way Back from the Brink
by Sasha Stone

In looking at the films that have the strongest awards potential at this point (with most of the big ones left to be seen, Munich, Geisha, etc.) an interesting theme is emerging. It may mark the first time in a good, long while that the field is dominated by real life, historical figures. And it is in them that we see what our country once was – perhaps because we long to find our way back to something substantial again. These films reflect the mistakes we made and how or if we’ve recovered.

This is not to say that Bush America isn’t a barrel of laughs but just that it’s a country many of us don’t recognize anymore – one in the grips of the possibility of intelligent design being taught in our schools, one where news is dominated by whether or not Jessica Simpson and Nick Lachey are getting divorce – meanwhile, war continues to rage in Iraq, with no end in sight. Our daily reality is one of fear whether real or invented by the news outlets – when will the terrorists hit us next? The times, they certainly have a-changed since the fun-loving ‘90s, before Clinton sprayed on Monica’s Gap dress. Before 9/11. Before Hurricane Katrina.

If the Oscars are a time capsule defining our collective conscience we have to wonder, what is going on in our world now? Most of the liberal-leaning artistic community have no outlet for their rage at the current administration and no control over it. If something can’t push out the front, it finds another way out. These films are showing us our past and that will speak volumes about the shallow, celebrity-obsessed culture we live in today. Several films and performances are emerging that represent history – and if it bears out when nominations are announced, it will be an unprecedented sampling of reality at the Oscars.

These are “Cinderella Man,” where James J. Braddock came back against all odds to concur not just his own career but the Depression. “Good Night, and Good Luck” gives us a hero of another era – Edward R. Murrow who fostered the integrity of journalism and freedom. “Walk the Line” with the troubled, difficult but nonetheless heroic Johnny Cash – a cultural icon reminiscent of another era. If these films make it to the home stretch, and it’s questionable whether any of them will (“Walk the Line” (Nov. 18) is the only lock at this point), we’ll be forced to deal with “issues.” Will our choking frivolity allow it? Can we count on the Oscars to bring some substance back into our lives?

The best of films, though, show the darker side of greatness. In “Capote,” we remember a man who came to mean so much to us – wrote “Breakfast at Tiffanys,” which single-handedly birthed an entire generation of females, and continues to do so to this day. We saw our world turned upside down by Capote’s non-fiction masterpiece, “In Cold Blood,” which did, in fact, change the way people write. But we saw a vain, narcissistic, scared little man who was far from perfect (even if Philip Seymour Hoffman’s performance is). No, these roles represented in the best of Hollywood’s offerings don’t present a perfect world in retrospect, but at least look back honestly.

These films are often ghettoized as “biopics,” and perhaps they are at that. Perhaps it really is just a matter of “Jamie Foxx did so well in ‘Ray’ maybe it’s time to do Johnny Cash.” But there is something simmering beneath the surface of these historical subjects. They are all representative of a broader political and cultural theme.

At a time when sexual harassment and feminism has been all but forgotten, there is “North Country” to remind us of what once was and could be again. And, of course, the movie no one has seen, Spielberg Great White Hope, “Munich” (Dec. 23) is about the conflict between Israel and Palestine, a conflict that is our reality, whether we acknowledge it or bury our heads in the sand because of it. It is our past, our present and our future.

Terrence Malick’s upcoming “The New World” (Dec. 25) is a dramatic telling of John Smith and Pocahontas, and “Syriana” (Nov. 23) dives right into the global oil industry and ought to expose some truths about the hypocrisy many of us feel with regard to our need for, our consumption of oil and our exploitation of other countries to get it. If “Syriana” performs critically, it could hit like “Traffic” last year, garnering Oscars for writing, directing and acting.

Even the fiction stories are dealing with real-life issues that, again, define our experience as Americans or global citizens – “The Constant Gardener” and “Crash” are heavy politically and call to the table our ignorance and prejudice. And “Brokeback Mountain” (Dec. 9) attempts to bring the topic of homosexuality out in the open – it’s a Big Oscar Movie, all dressed up and ready for the awards circuit – great reviews, epic sweep, a love story – but the twist? It’s two guys. Not only is it two guys but it’s two cowboys. What a daring move for director Ang Lee – and what a daring move it will be for the Academy to embrace it. Are they ready for it? Or will they back away politely as many are expecting?

But then again, in times of strife, the Academy have been known to dwell in escapism. So far, the year doesn’t appear to be shaping up like that, especially with “Munich” as the main course. Films like “The Producers” (Dec. 21) could offer a respite from the very sad and hard-going other subjects – and because of that, stand out. “King Kong” (Dec. 14) can only make the cut if it extraordinary – and with Peter Jackson directing it’s a distinct possibility. You can’t get more escapist than that. And it will probably make more money than all of the films mentioned here put together.

All in all, it’s shaping up to be the first season in a long time where politics and cultural conflicts will play a key role in the Oscars, where our history is as important as our present day reality, where real-life figures have become more dramatic and interesting than made up ones.

[Administrator]

Crítica de Quint, do Ain't It Cool News, para Soldado Anônimo. Ele gostou, mas não muito.

 

Quint becomes a JARHEAD!!!

Ahoy, squirts! Quint here with a little look at Sam Mendes' Gulf War flick JARHEAD, starring Jake Gyllenhaal, Peter Sarsgaard and Jamie Foxx.

First off, I'm a big fan of Sam Mendes' film work. I love AMERICAN BEAUTY and still love ROAD TO PERDITION. He's got a fantastic visual flair that is second only to his character work. The man casts great actors and pulls great performances out of them.

My big disappoint tonight did not come from JARHEAD, a flick I really like, but instead of not getting the new trailer for KONG which is supposed to be attached to the print. Oh, well. I guess I'll just have to watch that "look inside" behind the scenes thing to get my Kong fix. "Yeah, get that f**kin' bi-plane!!!" Well, you've gotten a little peak into my sad existence. But back to JARHEAD.

I don't know what the overall audience thought of the film, but it seemed to be received rather schizophrenically... there was a good amount of applause after the movie, but every conversation I overheard as I walked back to my car seemed to be, "I wanted more..." or "I expect it to be better..."

The movie is about a newbie who has signed up to the US army in 1989. It starts off so much like FULL METAL JACKET that I was actually a little surprised. The framing, the recruits lined up, the yelling drill sergeant vomiting up foul insults, the color... It was all so much like FULL METAL JACKET that I have to believe that Mendes knew the two films would draw comparisons, so he just said, "I'll give them this scene right up front, so we can move on and get to my movie..." He smartly gets out of basic training very quickly and plops in Jamie Foxx as Sgt. Siek who is a badass, but not the stereotypical thick necked red faced screaming sergeant.

The movie, much like the first Gulf War, doesn't have a big place to build to. The film is all about the characters waiting for the sh*t to start, the crazy bastard in the platoon, the quiet killers, the average kid just dreaming about going home, the life-time army people. They're all there. Being a good character drama, very few of the characters start out as one of the above listed types and end up the same way. The Gyllenhaal character goes through at least 3 of those above listed character types before the movie ends.

I think a lot of people are disappointed by the lack of big screen battle in the film. While I would have loved to seen Mendes approach a huge war epic, this isn't that story. The movie is based on a book by Anthony Swofford, the character Gyllenhaal plays. It's a true account of what he went through, which means very little in terms of battle. WW2 and Vietnam will be the best cinematic war periods because there was so much drama in the battles. Here the drama lies with the characters, who don't get off one shot before the war is over.

I know there is a lot of worry about whether or not the film will be preachy, either pro-war or anti-war. The flick has a moment where one of the characters, the one who questions the authority of the brass more than any others, starts to go into the "This is only a war for oil... who do you think gave Saddam his weapons in the first place? We did!" rant, but he's cut off by one of the other characters. They tell him politics don't matter. They're there. Everything else is bullsh*t.

The film is what it is, the story not telling you which side to take. You take out of the movie only what you take in with you, much like Yoda's f**ked up tree. The desire to serve one's country is there, the camaraderie is there, the humanity of the soldiers is there, the racism is there, the f**k ups that killed more soldiers than the enemy did is there, the despicable side of humans at war is there. It's a melting pot, but it's never preachy one way or the other.

The performances are great throughout, as you would expect from a Mendes flick. Gyllenhaal is shaping up to be one of the finest actors of our generation. He's got a focus and intensity that is truly striking. Sarsgaard is more quiet, but just as affecting. Jamie Foxx is a lot of fun in the movie, playing the hardass sergeant of our little group. I don't know if he's Oscar worthy, but he's definitely continuing to prove himself as an actor with the right stuff.

On the whole, I found myself never really getting personally invested in the story. I can't really explain it. I really liked the movie a lot, thought it was masterfully directed, had some great imagery (the oil fields on fire were haunting) and had some amazing performances, but I never once lost myself in the story. I don't know why I felt that distance, but it was definitely there.

Don't think that the distance translated to boredom for me. I was always engaged with what I saw onscreen. I think it's a really damn solid movie, but I never had that personal investment that I'm used to having in movies I like this much. Weird.

So there you have it. My thoughts on the flick. I have a backlog of movies that need reviewing as well as 3 interviews to transcribe for ya'. Look for the bulk of that stuff to hit sometime this week! Until then, this is Quint bidding you all a fond farewell and adieu.

-Quint

[Administrator]

Diane Keaton... MELHOR ATRIZ COADJUVANTE? É o que diz Kris Tapley:

 

Diane Keaton - Winner, Best Supporting Actress 2005

 

Regardless of what you'll read elsewhere, the idea has been floated and now the decision is being made to push Diane Keaton as a supporting actress contender this year for her scene-stealing portrayal in Thomas Bezucha's The Family Stone.

This is clearly a smart move. Keaton would have found placement in the leading category easy enough as it was, but in the hunt for a supporting trophy, the case is fairly strong that she could walk away with the statue.

Sarah Jessica Parker will be pushed as a lead.

The decision has come largely as a result of HFPA reaction to the film and their own decisions regarding the performances.

The Family Stone is set for release on December 16.

[FeCamargo]

Eles tem que se decidir qual vai para coadjuvante e qual não..um artigo fala uma coisa e o outro fala outra...

 

[Ronny]

Melhor para Keaton, que provavelmente não terá Meryl Streep como coadj!!!

Pior para Maria Bello (Oscar que eu já devo certo para MARCAS DA VIOLENCIA) e para Sarah Jessica Parker...

[-felipe-]

Vcs ainda apostam na indicação de Saarsgard?

[guidon]

Se Keaton entrar acho que ela leva, como coadjuvante.  Sarsgaard continuará na minha lista, mas acho que qm leva é o Bob Hoskins, prêmio-consolação, pela carreira e a derrota pro Paul Newman q mta gente lembra até hj.

[Stradivarius]

The 3 Burrials não é a estréia de Tommy Lee Jones na direção.

[Administrator]

FYC do The White Countess no tópico oficial!

[Administrator]

Oi pessoal...tá tarde, tô meio tonto...a farra foi legal...

 

Mas mesmo assim quis vir aqui pra dar um breve depoimento sobre os dois filmes que assisti hoje mais cedo. Na verdade irei só comentar um, o outro não passa de uma mera observação.

 

 

 

CORPSE BRIDE

 

 

 

A animação é estupenda, é um filme engraçado, mas sinceramente...não é isso tudo que andam dizendo não. Não chega aos pés de A NIGHTMARE BEFORE CHRISTMAS (O ESTRANHO MUNDO DE JACK) e até mesmo se for comparado a outra animação em stop-motion deste ano, WALLACE & GROMIT, saí perdendo pois o filme inglês tem melhores sacadas e uma direção de arte absolutamente perfeita. Ainda assim, CORPSE BRIDE é um bom filme!

 

 

 

 

 

CRASH

 

 

 

Ok...o que posso dizer?

 

Excelente!!!

 

Isso, essa é a palavra pra descrever a maravilhosa estréia de Paul Haggis na direção. CRASH não é forçado e nem tenta salvar o mundo; só quer mostrar uma realidade e todo mundo está perfeitamente apto a entender, afinal todos vivemos nela.

 

Sem nunca perder o ritmo, Haggis usa uma edição corretíssima, sem ser muito cortada, mas ao mesmo tempo com a dose certa de agilidade.

 

Todos no elenco (mesmo!) fazem um trabalho admirável. Para os prêmios de Best Ensemble, não só é um bom nome para indicação, como pode ser considerado facilmente para a vitória. Mas individualmente...sei lá..CRASH não tem protagonista, todos tem tempo de tela curto, mas ligeiramente similar. Não que isso seja um problema, mas não vejo indicação acontecendo, sinceramente. Mas se acontecer será merecidíssimo, principalmente para Matt Dillon e Thandie Newton (e para o Guidon...sim, a Sandra está bem sim, mas não será indicada!).

 

Sobre estes dois, as duas cenas em que eles contracenam são ESPETACULARES!!!! Só elas já valem o ingresso. Mas Haggis ainda nos presenteia outras vezes, como na cena da garota, seu pai, a capa e o "milagre" (há quem ache piegas...eu achei puro, belo e singelo), as cenas de Don Cheadle, algumas opções de filmagem (como iluminar o rosto de Matt Dillon, aparentemente por acaso, quando ele está irritado. Aparece o reflexo de uma sirene num vidro e isso vai para o rosto de Dillon, como se aquela fosse a cor de sua ira, e isso é fabuloso), ângulos (a tomada final é ótima!!!) e a idéial genial da neve.

 

Um dos melhores que eu vi este ano, sem dúvidas. Mas não deve ser indicado ao Oscar, com exceção do roteiro.

 

Bem, é o que eu acho...

 

Mas recomendo a todos

[Mariana M.]

Encontrei o trailer (teaser) de The Libertine:

 

http://www.ifilm.com/ads/asl/fullscreen/index.jsp?uri=http:/ /www.ifilm.com/ifilmdetail/2680358?htv=12&htv=12

 

Ahh, o meu não deu para ver, fica embassando uma parte do começo, mas tudo bem...

[saulomeri]

Pessoal, não sei se é verdadeira a informação de que um trailer de MUNICH será disponibilizado na internet amanhã!

Vamos aguardar.

saulomeri38659.5780902778

[Administrator]

:::desmaia:::

 

 

- - - - - - - - -

 

O Galinho Chicken Little está recebendio críticas bem ruinzinhas no RT. Acho que, se os indicados na categoria forem 3, suas chances não são muito boas. Aliás, alguém sabe se há animações suficientes para que o número de concorrentes seja 5?

 

E Soldado Anônimo pode dar adeus a uma indicação de Melhor Filme. A crítica se dividiu completamente. Não é com isso que o filme chegará ao Oscar.

Gustavo²38659.6374189815

[Administrator]

Trailer de Munique antes de Soldado Anônimo... Nesta Sexta:

 

 

A 'Munich' sneak peek

In many of the fall's Oscar prognostications, it's been the Big One, the movie that sight unseen has assumed the status of presumed front-runner.  But Steven Spielberg's "Munich" won't be unseen for much longer: this Friday, Universal will begin showing the film's first trailer on prints of "Jarhead." 

Spielberg is still working on the film, which deals with the 1972 Summer Olympics, at which 11 Israeli athletes were killed by Palestinian militants.  The movie's math (Spielberg + serious themes) is irresistible to many Oscar watchers, though of the director's previous dramas only "Schindler's List" won the top prize.

The trailer obviously won't answer the question of whether "Munich" can match that 1993 winner.  But it's a start--and, of course, the first step toward a time when guesses can be informed by things like actually seeing the movies...   

Gustavo²38659.6632986111