Oscar 2006

[Elessar77]

Eu não vejo muito futuro pra Memórias.

A critica não gostou. O público não gostou...

Agora..sobre King Kong...

Fonte : OSCARWATCH

December 06, 2005

King Kong - One of the Best of the Year

It's hard to imagine Peter Jackson topping his Lord of the Rings series but his King Kong comes pretty close to doing the job. It is one of the best movies of the year and guaranteed to be unlike anything ever put to screen. Just a quick heads up. The three hours fly by. Grown men cry. And Naomi Watts steals the show. More later.

 

[FeCamargo]

Olha....acho que temos um forte e poderoso candidato...Jackson volta a trilhar o Oscar com seu Kong!!!! Naomi provavelmente vai surgir como A candidata do final de ano!!!FeCamargo38692.7092361111

[Big One]

A crítica está babando, o Kong vem com tudo, não esperava tanto assim...

 

[talgufi]

Realmente Kong me surpreendeu... não esperava este buzz todo. E quer saber? Torço para Naomi conseguir mais uma indicação. Ela merece com louvor!!!! É a nova Jessica Lange

 

[Dado]

De fato o buzz expoldiu...mas honestamente não acredito em muitas indicações,e acho que as que as que vierem serão mais para o lado técnico. Dado38692.7770949074

[Fernando]

Memórias de Uma Gueixa já era , o negócio agora é em torno de Munique e King Kong (que está confirmando ser um acerto de Peter Jackson ).

[Dado]

Memórias de Uma Gueixa já era ' date=' o negócio agora é em torno de Munique e King Kong (que está confirmando ser um acerto de Peter Jackson ).[/quote']

Se eu aprendi um pouquinho só sobre o Spielberg,ele sabe o que tem na mão,e essa  estratégia silenciosa dele prá Munique vai cair como uma bomba.Claro que ele tá jogando alto,mas se for bom mesmo,se segurem nas cadeiras....

[Administrator]

Só para constar: as críticas são positivas, mas várias delas se referem ao filme como uma grande diversão. Não é algo no nível de O Senhor dos Anéis.

[Beckin]

Memórias de Uma Gueixa já era ' date=' o negócio agora é em torno de Munique e King Kong (que está confirmando ser um acerto de Peter Jackson ).[/quote']

Pois é, bem que eu tava estranhando esse memórias nas previsões, a maioria das criticas que eu leio são negativas ... elogiam mais o aspecto técnico do filme..

será que a atriz principal entra entre as 5 ? não sei não...

[Fernando]

Não acho que Zhang Ziyi entra , nem mesmo a atriz coadjuvante Gong Li (atriz pouco conhecida no Ocidente , mas uma estrela no Oriente) que tinha sido badalada por  ter ficado com o melhor personagem do romance no qual o filme é baseado . Memórias agora só tem chances nas categorias técnicas , já que a equipe reunida é das melhores .  E as críticas estão péssimas para um filme tão ambicioso .<?:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

King Kong deve ser sim uma grande diversão , mas que tem também ao seu favor a alta expectativa  de ser o primeiro trabalho pós-Oscar de um diretor bem-sucedido , talentoso e ambicioso , além de ter o bônus de ser atraente para cinéfilos por causa do histórico do personagem na cultura cinematográfica .  O original de 1933 é considerado um clássico e um marco na evolução dos efeitos especiais no cinema .

Munique está cada vez mais promissor  , e intrigante ...Será que Spielberg ganha o seu terceiro Oscar ? As chances estão aumentando .

Fernando38693.0450694444

[Administrator]

Sra. Henderson Apresenta e Tudo em Família, por outro lado, parece que conseguirão opiniões geralmente favoráveis, mas não intensas a ponto de colocá-los de volta seriamente na disputa.

[talgufi]

Fiquei simplesmente impressionado com o trailer do filme MUNICH. Acho que será o filme do ano. Apostava em Brokeback Mountain até ver  o trailer de Spielberg.  O filme parece ter um clima bem documental, o que me lembra o clássico TODOS OS HOMENS DO PRESIDENTE. É o tipo de filme que me interessa muito.

O que não acredito é que Spielberg leve mais um prêmio de diretor tào recentemente, mas que ele merece, merece... Pelo menos pela primeira impressão

[MERI BRASIL]

Esta parece ser a 1ª crítica de Munich. Assinada por David Poland.

SPEAKING OF OSCAR, Munich is the hot buzz title of this year. And the truth is, the film deserves a second viewing before I really settle in on my opinion. More so, it needs more than the couple of hours it's been since I saw the movie. But here goes a first impression…

The title of this film should have remained "Vengeance," because that really is what the film is about. From all sides of the experience, how does the pursuit, achievement and the reflection upon vengeance affect those involved?

Fears from pro-Israel folks are completely unfounded, though undoubtedly, someone will find some reason to complain. That someone will be a braying jackass. There is one speech from a Palestinian about how he perceives the conflict with Israel, but it is really about his perception and not a direct attack on Israel, even if he believes in the end of Israel. Moreover, there is a lot of Jew love in this movie. The discussion of honor being inherent to the Jewish religion is repeated a few times.

But most importantly, the film really isn't so much about Munich. The murders at the Olympics are the match that lights the fire. But once the team of assassins gets together, they are doing a job, person by person, and the morals and lessons of the film are about something greater than the one tragedy. Bana's Avner is through the looking glass, endlessly surprised by everything he doesn't really know or understand and desperately trying to figure it all out.

As with Kong, it's way too early to be discussing too many details of the storyline. But I will say this much…

There isn't a bad performance in the movie. Bana is a standout, and really holds back until the third act, which is when he starts reflecting and dealing with his actions. That's the act that will get him the Oscar nomination. Geoffrey Rush is perfect in his role as a government handler, though he probably doesn't have enough big speeches to get more than love and admiration. Daniel Craig, Hanns Zichler, Cieran Hinds, and Mattheiu Kassovitz are all tremendous in support of Bana. None of the other team members probably have enough of a role to score an Awards nomination… maybe Craig.

But Michael Lonsdale is the home run supporting performance here, though it is a near-cameo. The delicious irony of the man who chased The Jackal more than 30 years ago still being in and around the spy game is wonderful. (No, it's not part of the movie... but Spielberg is more than movie savvy enough to have intended the connection.) But more so, Lonsdale scores with every line he reads. It reminds me more than a little of the well-loved cameo by Lois Smith in Minority Report.

Janusz Kaminski does his usual brilliant understated job with the camera and lights here, delivering the 70s with aplomb. Few will really see how sophisticated his work is here. But it is a treat. It is the least Spielberg of Spielberg movies, so no rack focus… no big camera moves. Just tight and clear work from start to finish… you never see the seams.

Also unSpielberg-like is the amount of sex in the film. Most of it is between husband and wife. But it can be pretty untense. And Marie-Josee Croze is more than an eyeful in her brief appearance.

Really, much like Match Point and Woody Allen, you would not know this was a Steven Spielberg movie if you didn't see his name on it. He really gives up his style crutches for the cleanest telling of this story. And as a result, it really has the feeling of early 70s film, particularly The Conversation, The Day of the Jackal, and even a bit of The Godfather.

For me, the theme of this film is the dehumanizing nature of violence over time. No matter how well founded - in your mind or in reality - the "right" to kill is, in order to maintain focus on the effort, one must dehumanize both their target and themselves. There are other big issues on the table, such as being inevitably revisited by your sins, the question of whether violence can ever improve a political or moral situation, and whether the politics of governments can ever clear enough to be trusted. But much like The Thin Red Line, Munich speaks to the need to subsume your humanity in order to do your duty when your duty calls for more than humane action.

And maybe that is a controversial idea. It will be interesting to see how people interpret the last lines of the film… and even more so, the last shot which includes the World Trade Center towers in a blurry, but perfectly visible background. (Have I mentioned before that The New World ends with the acorn not falling far from the tree… literally?)

Munich is not quite, at least on first blush, the unstoppable Oscar powerhouse that I first thought it might be. Spielberg has given up too many of his manipulative tricks for that to be the case here. But it is still the likely winner of this year's Best Picture Oscar, in my opinion. It is serious. It is excellent. And it is about something important beyond its own storytelling parameters. Brokeback Mountain will have its supporters, but I don't see it overcoming this film, which speaks to bigger issues, though the issues in Brokeback are extremely important to its constituency.

I am really interested to see how this movie sits with me in the days to come. I suspect that it will open up further. I hope to see it again soon and to connect both to its receiving simplicity and its depth of emotion and insights.

More on both films in the weeks to come...

[Pedro Cinéfilo]

 

   é uma pena que Memórias esteja perdendo buzz, parecia ser um filme bom e Rob Marshal merecia um trabalho bom depois da obra-prima Chicago! Mas o filme pode ser bom, quem sabe... sobre Orgulho e Preconceito eu vi o trailler e não gostei da Keira nele, mas quem sabe no filme. Munich parece que vai ser o vencedor do ano mas Brokeback Mountain é uma ameaça sempre presente.

[talgufi]

 

   é uma pena que Memórias esteja perdendo buzz' date=' parecia ser um filme bom e Rob Marshal merecia um trabalho bom depois da obra-prima Chicago! Mas o filme pode ser bom, quem sabe... sobre Orgulho e Preconceito eu vi o trailler e não gostei da Keira nele, mas quem sabe no filme. Munich parece que vai ser o vencedor do ano mas Brokeback Mountain é uma ameaça sempre presente.

[/quote']

  É um filme complicado. Desde o começo ficou passando de diretor em diretor. Todos q pegavam depois desistiam. Rob, pelo menos teve peito de encarar, deveria ter sido reconhecido por isto, mas se o filme tiver as falhas que a crítica vem comentando... daí num tem jeito. Fica pra próxima Rob.

[talgufi]

Aliás o Rob poderia ter pego o lema de Chicago para este filme: Razzle Dazzle - - - - e transformar tudo em um espetáculo, jogar pueira nos olhos da crítica... hehehehehehehehe

[Administrator]

KING KONG também está me deixando intrigado!!! Mas ainda não sei se tem chances nas categorias principais. Mas que o trailler é tenso, isso é...e Naomi Watts parece estar muito bem. Estou curisíssimo para ver o filme!

 

 

 

 

 

Quanto á MUNICH, parece que vai emplacar mesmo, né?

 

Continuo esperando...

[Administrator]

E Munich ganha força diariamente. Mas eu queria mesmo ver "The New World" premiado. Se bem que não gostei do Colin Farrel neste papel...espero que o Grande Malick seja agraciado com a estatueta por um outro filme.

[Elessar77]

NBR foi adiado para o dia 12.

December 06, 2005

NBR Postpones Announcement

Thanks to my pal Stephen Holt for the NBR press release (and to Wayman also!)

Dear Journalists, Editors, Marketing and Publicity representatives --

Due to an incomplete eligibility mailing to the National Board of Review screening committee, and in fairness to all eligible films, filmmakers and actors, the NBR is postponing its Awards announcement until Monday morning, December 12th.

In consideration of the incomplete nature of the 2005 eligibility list and with apologies, NBR screening committee members have been asked to disregard the previously sent eligibility list and to review the complete list of screened films. Each film, each director and each performer is eligible in all categories. NBR screening committee members will receive and submit new ballots considering all 2005 qualified films, directors and performers.

We are sorry for the inadvertent omissions and the delay in announcing the 2005 National Board of Review of Motion Pictures Awards.

--

 

[Administrator]

Esta parece ser a 1ª crítica de Munich. Assinada por David Poland.

SPEAKING OF OSCAR, Munich is the hot buzz title of this year. And the truth is, the film deserves a second viewing before I really settle in on my opinion. More so, it needs more than the couple of hours it's been since I saw the movie. But here goes a first impression…

The title of this film should have remained "Vengeance," because that really is what the film is about. From all sides of the experience, how does the pursuit, achievement and the reflection upon vengeance affect those involved?

Fears from pro-Israel folks are completely unfounded, though undoubtedly, someone will find some reason to complain. That someone will be a braying jackass. There is one speech from a Palestinian about how he perceives the conflict with Israel, but it is really about his perception and not a direct attack on Israel, even if he believes in the end of Israel. Moreover, there is a lot of Jew love in this movie. The discussion of honor being inherent to the Jewish religion is repeated a few times.

But most importantly, the film really isn't so much about Munich. The murders at the Olympics are the match that lights the fire. But once the team of assassins gets together, they are doing a job, person by person, and the morals and lessons of the film are about something greater than the one tragedy. Bana's Avner is through the looking glass, endlessly surprised by everything he doesn't really know or understand and desperately trying to figure it all out.

As with Kong, it's way too early to be discussing too many details of the storyline. But I will say this much…

There isn't a bad performance in the movie. Bana is a standout, and really holds back until the third act, which is when he starts reflecting and dealing with his actions. That's the act that will get him the Oscar nomination. Geoffrey Rush is perfect in his role as a government handler, though he probably doesn't have enough big speeches to get more than love and admiration. Daniel Craig, Hanns Zichler, Cieran Hinds, and Mattheiu Kassovitz are all tremendous in support of Bana. None of the other team members probably have enough of a role to score an Awards nomination… maybe Craig.

But Michael Lonsdale is the home run supporting performance here, though it is a near-cameo. The delicious irony of the man who chased The Jackal more than 30 years ago still being in and around the spy game is wonderful. (No, it's not part of the movie... but Spielberg is more than movie savvy enough to have intended the connection.) But more so, Lonsdale scores with every line he reads. It reminds me more than a little of the well-loved cameo by Lois Smith in Minority Report.

Janusz Kaminski does his usual brilliant understated job with the camera and lights here, delivering the 70s with aplomb. Few will really see how sophisticated his work is here. But it is a treat. It is the least Spielberg of Spielberg movies, so no rack focus… no big camera moves. Just tight and clear work from start to finish… you never see the seams.

Also unSpielberg-like is the amount of sex in the film. Most of it is between husband and wife. But it can be pretty untense. And Marie-Josee Croze is more than an eyeful in her brief appearance.

Really, much like Match Point and Woody Allen, you would not know this was a Steven Spielberg movie if you didn't see his name on it. He really gives up his style crutches for the cleanest telling of this story. And as a result, it really has the feeling of early 70s film, particularly The Conversation, The Day of the Jackal, and even a bit of The Godfather.

For me, the theme of this film is the dehumanizing nature of violence over time. No matter how well founded - in your mind or in reality - the "right" to kill is, in order to maintain focus on the effort, one must dehumanize both their target and themselves. There are other big issues on the table, such as being inevitably revisited by your sins, the question of whether violence can ever improve a political or moral situation, and whether the politics of governments can ever clear enough to be trusted. But much like The Thin Red Line, Munich speaks to the need to subsume your humanity in order to do your duty when your duty calls for more than humane action.

And maybe that is a controversial idea. It will be interesting to see how people interpret the last lines of the film… and even more so, the last shot which includes the World Trade Center towers in a blurry, but perfectly visible background. (Have I mentioned before that The New World ends with the acorn not falling far from the tree… literally?)

Munich is not quite, at least on first blush, the unstoppable Oscar powerhouse that I first thought it might be. Spielberg has given up too many of his manipulative tricks for that to be the case here. But it is still the likely winner of this year's Best Picture Oscar, in my opinion. It is serious. It is excellent. And it is about something important beyond its own storytelling parameters. Brokeback Mountain will have its supporters, but I don't see it overcoming this film, which speaks to bigger issues, though the issues in Brokeback are extremely important to its constituency.

I am really interested to see how this movie sits with me in the days to come. I suspect that it will open up further. I hope to see it again soon and to connect both to its receiving simplicity and its depth of emotion and insights.

More on both films in the weeks to come...

[/quote']

 

Bem, ao menos ele escreveu que é "excelente", o que, de um colunista menor como ele, não machuca ninguém.

Parece-me então que a única coisa que pode prejudicar o filme no Oscar é o fato de o filme não parecer um típico drama de Spielberg. Hmmm...

[Administrator]

Droga!

 

Eu louco para ver a lista do NBR e eles adiam para Segunda que vem. Haja paciência.

[Administrator]

Para variar, o azedo Kris Tapley, colunista do MCN e editor do weblog In Contention (http://www.incontention.blogspot.com/) não aprovou King Kong e nem Munique.

 

Ele diz que o primeiro tem barrigas demais, e que o roteiro do segundo é problemático.

 

Não que isso importe, já que estamos lidando com o mesmo cara que achou O Senhor das Armas uma obra-prima revolucionária.

[MERI BRASIL]

Mais uma crítica de Munique:

 

Spielberg's 'Munich' Is Best Movie of 2005

I don't know which is more amazing: that Steven Spielberg managed to make the best movie of the year in just four months, or that it's his second huge film of 2005.

Either way, "Munich" is a poignant political masterpiece that will no doubt be very controversial.

It's the best movie of 2005, coming in at the last minute to best other terrific entries, including "Walk the Line," "Match Point," "Capote," "Mrs. Henderson Presents," "Good Night, and Good Luck," "A History of Violence" and even "Memoirs of a Geisha."

"Munich" is "inspired by real events," those being the 1972 murders of the Israeli wrestling team in Munich during the Olympics and the fallout that followed.

The filmmaker says "inspired by" and I will take him at his word. There is not going to be an anti-"Munich" campaign in which factual details are matched up to the movie's sequences. This is not "A Beautiful Massacre."

It's certainly mind-blowing, in many ways, that Spielberg made this movie at all.

He released his popcorn movie of the year, "War of the Worlds," in June. He didn't start work on "Munich" until July 15.

The final scene was shot, I believe, around Sept. 22 in New York, with Geoffrey Rush and Eric Bana. That's not much turnaround time.

And yet, as far as I can tell, there are no huge mistakes in "Munich." Even the music is from 1972 — Bill Withers' "Ain't No Sunshine" and Al Green's "Let's Stay Together" are from that year. The movie's look, from the sets, props, costumes and hairstyles to Janusz Kaminski's tinted cinematography, is also vintage.

Spielberg, in fact, seems like he's taken a page out of Steven Soderbergh and George Clooney's playbook. He's outdone "Traffic" and "Syriana" at the same time.

If it weren't based on a historic tragedy, you would say that "Munich" was a better version of the "Mission: Impossible" movies. It's hard to put the facts aside, but if you do, "Munich" is very good entertainment.

Bana — who certainly should be nominated for Best Actor — is the convincing and heroic lead. He plays Avner, a Mossad officer chosen by Israeli intelligence to lead an elite squad of agents whose mission is to kill the Palestinian terrorists who murdered the Olympic team.

Bana is enlisted by Geoffrey Rush, and then picks a team played by Daniel Craig (the new James Bond, in a surprisingly small role), Ciarah Hinds, Mathieu Kassovitz and Hanns Zischler.

They are all very good, especially Hinds, but there are two standout performances by Mathieu Amalric and Michael Lonsdale as a French son and father at the center of international intrigue. I don't know if either of them are on screen enough, but they might each qualify for supporting-actor nods.

Bana, whose credits include the praised "Chopper" and the reviled "Troy," not to mention a stint as Ang Lee's "Hulk," vaults to stardom in "Munich," whether he likes it or not.

In a complicated movie full of disarming violence and philosophical questions about retribution, Bana's Avner is a guiding light. He is Spielberg's most clearly drawn adult male hero since Indiana Jones — and that includes "E.T."'s Elliott, Oskar Schindler and Bruce, the shark from "Jaws."

In many ways, I felt like Spielberg had been working his way up to Avner in his last few central characters: Tom Hanks in "The Terminal," Leonardo DiCaprio in "Catch Me If You Can" and Tom Cruise in "War of the Worlds."

There will be plenty of debate over whether Spielberg favored the Israelis or demonized the Palestinians in this movie. But the terrific screenplay by Tony Kushner and Eric Roth goes a long way to solve these problems.

The Israelis are shown as conflicted by their task; the Palestinians are made multi-dimensional through their own explanation of what went on. Spielberg doesn't attempt to address the entire Middle East conflict, just to deal with this moment in 1972.

And there are the trademark Spielbergian touches, too: Avner often stares longingly into a kitchen store window, where all the appliances are pristine and life is perfect. It's where he meets Louis (Amalric) to get information, but you know the whole time he's thinking of his beautiful wife and newborn baby.

The 1972 kitchens — avocado-colored dishwashers, etc — make the perfect antidote to the bloody killing going on all around him.

"Munich" is for real. It joins "Schindler's List," "Saving Private Ryan," "Amistad" and "Close Encounters of the Third Kind" on Spielberg's "serious" film list.

The 2005 Oscars are all his for the taking.

[Sync]

Descuple... mas faz 2 meses que eu naum entro nesse forum e não sei oq vcs penssam sobre o KING KONG. Vcs axam possível ele ser indicado a melhor filme?

[saulomeri]

Eu acho cada dia mais provável.