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Mladen

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  1. National Board of Review Awards - WINNERS

    Spoiler

    Best Film: “Killers of the Flower Moon” (Apple Original Films/Paramount Pictures)

    Best Director: Martin Scorsese — “Killers of the Flower Moon” (Apple Original Films/Paramount Pictures)

    Best Actor: Paul Giamatti, “The Holdovers” (Focus Features)

    Best Actress: Lily Gladstone, “Killers of the Flower Moon” (Apple Original Films/Paramount Pictures)

    Best Supporting Actor: Mark Ruffalo, “Poor Things” (Searchlight Pictures)

    Best Supporting Actress: Da’Vine Joy Randolph, “The Holdovers” (Focus Features)

    NBR Icon Award: Bradley Cooper

    Best Original Screenplay: “The Holdovers” (Focus Features) — David Hemingson

    Best Adapted Screenplay: “Poor Things” (Searchlight Pictures) — Tony McNamara

    Breakthrough Performance: Teyana Taylor, “A Thousand and One” (Focus Features)

    Best Directorial Debut: Celine Song, “Past Lives” (A24)

    Best Animated Feature: “Spider-Man: Across the Spider-Verse” (Sony Pictures)

    Best International Film: “Anatomy of a Fall” (Neon)

    Best Documentary: “Still: A Michael J. Fox Movie” (Apple Original Films)

    Best Ensemble: “The Iron Claw” (A24)

    Outstanding Achievement in Stunt Artistry: Director Chad Stahelski and Stunt Coordinators Stephen Dunlevy & Scott Rogers, “John Wick: Chapter 4” (Lionsgate)

    Outstanding Achievement in Cinematography: Rodrigo Prieto, “Barbie” (Warner Bros.) and “Killers of the Flower Moon” (Apple Original Films/Paramount Pictures)

    NBR Freedom of Expression Awards:

    Top Films (in alphabetical order):
    “Barbie”
    “The Boy and the Heron”
    “Ferrari”
    “The Holdovers”
    “The Iron Claw”
    “Maestro”
    “Oppenheimer”
    “Past Lives”
    “Poor Things”

    Top 5 International Films (in alphabetical order):
    “La Chimera” (Neon)
    “Fallen Leaves” (Mubi)
    “The Teachers’ Lounge” (Sony Pictures Classics)
    Tótem
    “The Zone of Interest” (A24)

    Top 5 Documentaries (in alphabetical order):
    20 Days in Mariupol
    32 Sounds
    The Eternal Memory
    The Pigeon Tunnel
    A Still Small Voice

    Top 10 Independent Films (in alphabetical order):
    All Dirt Roads Taste of Salt
    All of Us Strangers
    BlackBerry
    Earth Mama
    Flora and Son
    The Persian Version
    Scrapper
    Showing Up
    Theater Camp
    A Thousand and One

  2. Due to the writers' and actors' strikes last few months, Primetime Emmy Awards have been rescheduled for January, 15th. This means that all the big TV awards will be given this winter -Emmys, Globes, Actors (SAG Awards) and CCA TV awards. While the usual winter slate has its own timeline, it is worth mentioning that for the ceremony that is due in January, Emmy eligibility period was between June 1st, 2022 and May 31st, 2023. 

    A lot of great TV... Let's hope all these award-giving bodies do the good work this winter. ;)

    ***

    AWARD SHOWS

    GOLDEN GLOBE WINNERS

    SCREEN ACTORS GUILD AWARDS - NOMINEES

    DGA NOMINEES

    PGA NOMINEES

    CRITICS CHOICE AWARD (CCA) WINNERS

    EMMY WINNERS

    AACTA International Awards WINNERS

    DGA WINNERS

    WGA NOMINEES

    GUILDS WINNERS

    SAG WINNERS

    SPIRIT WINNERS

    PGA WINNERS

  3. Despite having zero chances to win, mescal was my favorite in his category last year. AFTERSUN is such an amazing movie, a true gem and he is sublime. 

    ***
    MAY DECEMBER SPOILERS

    Spoiler

    Having watched MAY DECEMBER, I am all in for Charles Melton winning. The Best Supporting Actor category is stacked with Hollywood heavy-weights like De Niro, Gosling; Ruffalo and RDJ, but Melton was absolutely perfect in MAY DECEMBER. The way his posture speaks about his psychological state should be in acting books. He verbalizes so little, and yet every time he is on screen, you realize what was done to him. 

    My cinephile soul was over the moon to see that Haynes and Moore also transferred some of their masterpiece SAFE energy and infused it into this movie. Loved it, especially in terms of the conversations one can have. And that graduation scene with Gracie and Elizabeth and that switch of power... Portman and Moore nailed how the huntress and the hunt exchanged so easily in a second. 

    Not sure about other categories, but for acting:

    • Melton - totally win-competitive
    • Moore - could be win-competitive, but I think she could be nominated
    • Portman - can't see her winning, wouldn't be surprised if she gets nominated
  4. The British Independent Film Awards (BIFA) - WINNERS

    Spoiler

    Best British Independent Film
    All Of Us Strangers – Andrew Haigh, Graham Broadbent, Pete Czernin, Sarah Harvey
    Femme – Sam H Freeman, Ng Choon Ping, Myles Payne, Sam Ritzenberg
    How To Have Sex – Molly Manning Walker, Ivana MacKinnon, Emily Leo, Konstantinos Kontovrakis
    Rye Lane – Raine Allen-Miller, Nathan Bryon, Tom Melia, Yvonne Isimeme Ibazebo, Damian Jones
    Scrapper – Charlotte Regan, Theo Barrowclough

    Best International Independent Film
    Anatomy Of A Fall – Justine Triet, Arthur Harari, Marie-Ange Luciani, David Thion
    Fallen Leaves – Aki Kauriskmäki
    Fremont – Babak Jalali, Carolina Cavalli, Marjaneh Moghimi, Sudnya Shroff, Rachael Fung
    Monster – Hirokazu Kore-eda, Yuji Sakamoto, Genki Kawamura, Kenji Yamada
    Past Lives – Celine Song, David Hinojosa, Christine Vachon, Pamela Koffler

    Best Director
    Raine Allen-Miller – Rye Lane
    Sam H Freeman, Ng Choon Ping – Femme
    Andrew Haigh – All Of Us Strangers
    Molly Manning Walker – How To Have Sex
    Charlotte Regan – Scrapper

    Best Screenplay
    Nathan Bryon, Tom Melia – Rye Lane
    Sam H Freeman, Ng Choon Ping – Femme
    Andrew Haigh – All Of Us Strangers
    Molly Manning Walker – How To Have Sex
    Charlotte Regan – Scrapper

    Best Lead Performance
    Jodie Comer – The End We Start From
    Mia McKenna-Bruce – How To Have Sex
    Tia Nomore – Earth Mama
    Nabhaan Rizwan – In Camera
    Andrew Scott – All Of Us Strangers
    Tilda Swinton – The Eternal Daughter

    Best Supporting Performance
    Ritu Aryu – Polite Society
    Jamie Bell – All Of Us Strangers
    Samuel Bottomley – How To Have Sex
    Alexandra Burke – Pretty Red Dress
    Amir El-Masry – In Camera
    Claire Foy – All Of Us Strangers
    Paul Mescal – All Of Us Strangers (TIE)
    Alia Shawkat – Drift
    Shaun Thomas – How To Have Sex (TIE)
    Katherine Waterson – The End We Start From

    Best Joint Lead Performance
    Lola Campbell, Harris Dickinson – Scrapper
    David Jonsson, Vivian Oparah – Rye Lane
    Nathan Stewart-Jarrett, George MacKay – Femme

    The Douglas Hickox Award (Best Debut Director)
    Raine Allen-Miller – Rye Lane
    Sam H Freeman, Ng Choon Ping – Femme
    Savanah Leaf – Earth Mama
    Molly Manning Walker – How To Have Sex
    Charlotte Regan – Scrapper

    Breakthrough Producer
    Theo Barrowclough – Scrapper
    Georgia Goggin – Pretty Red Dress
    Yvonne Isimeme Ibazebo – Rye Lane [Also Produced By Damian Jones]
    Gannesh Rajah – If The Streets Were On Fire
    Chi Thai – Raging Grace

    Breakthrough Performance
    Le’Shantey Bonsu – Girl
    Lola Campbell – Scrapper
    Priya Kansara – Polite Society
    Mia McKenna-Bruce – How To Have Sex
    Vivian Oparah – Rye Lane

    Best Debut Screenwriter
    Nathan Bryon, Tom Melia – Rye Lane
    Sam H Freeman, Ng Choon Ping – Femme
    Molly Manning Walker – How To Have Sex
    Nida Manzoor – Polite Society
    Charlotte Regan – Scrapper

    Best Debut Director – Feature Documentary
    Chloe Abrahams – The Taste Of Mango
    Sophie Compton, Reuben Hamlyn – Another Body
    Ella Glendining – Is There Anybody Out There?
    Alice Russell – If The Streets Were On Fire
    Christopher Sharp – Bobi Wine: The People’s President [Also Directed By Moses Bwayo]

    The Raindance Maverick Award
    If The Streets Were On Fire – Alice Russell, Gannesh Rajah
    Is There Anybody Out There? – Ella Glendining, Janine Marmot
    Name Me Lawand – Edward Lovelace
    Raging Grace – Paris Zarcilla, Chi Thai
    Red Herring – Kit Vincent, Ed Owles

    Best Feature Documentary
    Another Body – Sophie Compton, Reuben Hamlyn, Isabel Freeman, Elizabeth Woodward
    Bobi Wine: The People’s President – Moses Bwayo, Christopher Sharp, John Battsek
    If The Streets Were On Fire – Alice Russell, Gannesh Rajah
    Lyra – Alison Millar, Jackie Doyle
    Occupied City – Steve Mcqueen, Bianca Stitger, Floor Onrust, Anna Smith-Tenser

    Best British Short Film
    Christopher At Sea – Tom C J Brown, Laure Desmazières, Emmanuel-Alain Raynal, Pierre Baussaron, Amanda Miller, Hannah Stolarski, Nick Read, Emily-Jane Brown
    Festival Of Slaps – Abdou Cissé, Cheri Darbon, George Telfer
    Lions – Beru Tessema, Ama Ampadu
    Muna – Warda Mohamed, Angela Moneke, Simon Hatton
    The Talent – Thomas May Bailey, Emma D’arcy, Ellen Spence

    Best Casting
    Shaheen Baig – Scrapper
    Kharmel Cochrane – Rye Lane
    Kahleen Crawford – All Of Us Strangers
    Isabella Odoffin – How To Have Sex
    Salome Oggenfuss, Geraldine Barón, Abby Harri – Earth Mama

    Best Cinematography
    Olan Collardy – Rye Lane
    Suzie Lavelle – The End We Start From
    Molly Manning Walker – Scrapper
    Jamie D. Ramsay – All Of Us Strangers
    James Rhodes – Femme

    Best Costume Design
    George Buxton – How To Have Sex
    Oliver Cronk – Scrapper
    Buki Ebiesuwa – Femme
    Cynthia Lawrence-John – Rye Lane
    PC Williams – The End We Start From

    Best Editing
    Jonathan Alberts – All Of Us Strangers
    Victoria Boydell – Rye Lane
    Paul Carlin – Bobi Wine: The People’s President
    Avdhesh Mohla – High & Low: John Galliano
    Arttu Salmi – The End We Start From

    Best Effects
    Paddy Eason – Polite Society
    Theodor Flo-Groeneboom – The End We Start From
    Jonathan Gales, Richard Baker – The Kitchen

    Best Music Supervision
    Ciara Elwis – Femme
    Connie Farr – All Of Us Strangers
    David Fish – Rye Lane

    Best Make-Up & Hair Design
    Zoe Clare Brown – All Of Us Strangers
    Claire Carter – Polite Society
    Marie Deehan – Femme
    Natasha Lawes – How To Have Sex
    Bianca Simone Scott – Rye Lane

    Best Original Music
    Adam Janota Bzowski – Femme
    Patrick Jonsson – Scrapper
    Kwes – Rye Lane
    Anna Meredith – The End We Start From
    Ré Olunuga – Girl

    Best Production Design
    Laura Ellis Cricks – The End We Start From
    Sarah Finlay – All Of Us Strangers
    Elena Muntoni – Scrapper
    Nathan Parker – The Kitchen
    Anna Rhodes – Rye Lane

    Best Sound
    Ben Baird, Jack Wensley, Adam Fletcher, Alexej Mungersdorff – Scrapper
    Steve Fanagan – How To Have Sex
    Stevie Haywood, Joakim Sundström, Per Bostrom – All Of Us Strangers
    Mark Jenkin – Enys Men
    Jens Rosenlund-Petersen, Amy Felton, Joe Jackson, Tim Cavagin, Lori Dovi – The End We Start From

     

  5. The Film Independent SPIRIT Awards - NOMINATIONS

     

    Spoiler

    BEST FEATURE (Award given to the producer)
    All of Us Strangers – Producers: Graham Broadbent, Pete Czernin, Sarah Harvey
    American Fiction – Producers: Cord Jefferson, Jermaine Johnson, Nikos Karamigios, Ben LeClair
    May December – Producers: Jessica Elbaum, Will Ferrell, Grant S. Johnson, Pamela Koffler, Tyler W. Konney, Sophie Mas, Natalie Portman, Christine Vachon
    Passages – Producers: Michel Merkt, Saïd Ben Saïd
    Past Lives – Producers: David Hinojosa, Pamela Koffler, Christine Vachon
    We Grown Now – Producers: Minhal Baig, Joe Pirro


    BEST FIRST FEATURE (Award given to director and producer)
    All Dirt Roads Taste of Salt – Director: Raven Jackson, Producers: Maria Altamirano, Mark Ceryak, Barry Jenkins, Adele Romanski
    Chronicles of a Wandering Saint – Director: Tomás Gómez Bustillo, Producers: Gewan Brown, Amanda Freedman
    Earth Mama – Director/Producer: Savanah Leaf, Producers: Sam Bisbee, Shirley O’Connor, Medb Riordan, Cody Ryder
    A Thousand and One – Director: A.V. Rockwell, Producers: Julia Lebedev, Rishi Rajani, Eddie Vaisman, Lena Waithe, Brad Weston
    Upon Entry – Directors: Alejandro Rojas, Juan Sebastián Vásquez, Producers: Sergio Adrià, Carlos Juárez, Alba Sotorra, Carles Torras, Xosé Zapata

    JOHN CASSAVETES AWARD – Given to the best feature made for under $1,000,000 (Award given to the writer, director and producer)
    The Artifice Girl – Director/Writer: Franklin Ritch, Producers: Aaron B. Koontz, Ashleigh Snead
    Cadejo Blanco – Director/Writer/Producer: Justin Lerner, Producers: Mauricio Escobar, Ryan Friedkin, Jack Patrick Hurley
    Fremont – Director/Writer: Babak Jalali, Writer: Carolina Cavalli, Producers: Rachael Fung, Chris Martin, Marjaneh Moghimi, George Rush, Sudnya Shroff, Laura Wagner
    Rotting in the Sun – Director/Writer: Sebastián Silva, Writer: Pedro Peirano, Producer: Jacob Wasserman
    The Unknown Country – Director/Writer/Producer: Morrisa Maltz, Writer: Lily Gladstone, Writers/Producers: Lainey Bearkiller Shangreaux, Vanara Taing, Producers: Katherine Harper, Laura Heberton, Tommy Heitkamp


    BEST DIRECTOR
    Andrew Haigh – All of Us Strangers
    Todd Haynes – May December
    William Oldroyd – Eileen
    Ira Sachs – Passages
    Celine Song – Past Lives

    BEST SCREENPLAY
    David Hemingson – The Holdovers
    Cord Jefferson – American Fiction
    Laura Moss & Brendan J. O’Brien – Birth/Rebirth
    Emma Seligman & Rachel Sennott – Bottoms
    Celine Song – Past Lives

    BEST FIRST SCREENPLAY
    Samy Burch; Story by Samy Burch & Alex Mechanik – May December
    Noah Galvin, Molly Gordon, Nick Lieberman & Ben Platt – Theater Camp
    Tomás Gómez Bustillo – Chronicles of a Wandering Saint
    Laurel Parmet – The Starling Girl
    Alejandro Rojas & Juan Sebastián Vásquez – Upon Entry


    BEST LEAD PERFORMANCE
    Jessica Chastain – Memory
    Greta Lee – Past Lives
    Trace Lysette – Monica
    Natalie Portman – May December
    Judy Reyes – Birth/Rebirth
    Franz Rogowski – Passages
    Andrew Scott – All of Us Strangers
    Teyana Taylor – A Thousand and One
    Jeffrey Wright – American Fiction
    Teo Yoo – Past Lives

    BEST SUPPORTING PERFORMANCE
    Erika Alexander – American Fiction
    Sterling K. Brown – American Fiction
    Noah Galvin – Theater Camp
    Anne Hathaway – Eileen
    Glenn Howerton – BlackBerry
    Marin Ireland – Eileen
    Charles Melton – May December
    Da’Vine Joy Randolph – The Holdovers
    Catalina Saavedra – Rotting in the Sun
    Ben Whishaw – Passages


    BEST BREAKTHROUGH PERFORMANCE
    Marshawn Lynch – Bottoms
    Atibon Nazaire – Mountains
    Tia Nomore – Earth Mama
    Dominic Sessa – The Holdovers
    Anaita Wali Zada – Fremont

    BEST CINEMATOGRAPHY
    Katelin Arizmendi – Monica
    Eigil Bryld – The Holdovers
    Jomo Fray – All Dirt Roads Taste of Salt
    Pablo Lozano – Chronicles of a Wandering Saint
    Pat Scola – We Grown Now

    BEST EDITING
    Santiago Cendejas, Gabriel Díaz, Sofía Subercaseaux – Rotting in the Sun
    Stephanie Filo – We Grown Now
    Daniel Garber – How to Blow Up a Pipeline
    Jon Philpot – Theater Camp
    Emanuele Tiziani – Upon Entry

    ROBERT ALTMAN AWARD (Given to one film’s director, casting director and ensemble cast)
    Showing Up
    Director: Kelly Reichardt
    Casting Director: Gayle Keller
    Ensemble Cast: André Benjamin, Hong Chau, Judd Hirsch, Heather Lawless, James Le Gros, John Magaro, Matt Malloy, Amanda Plummer, Maryann Plunkett, Denzel Rodriguez, Michelle Williams

    BEST DOCUMENTARY (Award given to the director and producer)
    Bye Bye Tiberias – Director: Lina Soualem, Producer: Jean-Marie Nizan
    Four Daughters – Director: Kaouther Ben Hania, Producer: Nadim Cheikhrouha
    Going to Mars: The Nikki Giovanni Project – Directors/Producers: Joe Brewster, Michèle Stephenson, Producer: Tommy Oliver
    Kokomo City – Director: D. Smith, Producers: Bill Butler, Harris Doran
    The Mother of All Lies – Director/Producer: Asmae El Moudir

    BEST INTERNATIONAL FILM (Award given to the director)
    Anatomy of a Fall (France) – Director: Justine Triet
    Godland (Denmark/Iceland) – Director: Hlynur Pálmason
    Mami Wata (Nigeria) – Director: C.J. ‘Fiery’ Obasi
    Tótem (Mexico) – Director: Lila Avilés
    The Zone of Interest (United Kingdom, Poland, USA) – Director: Jonathan Glazer


    PRODUCERS AWARD
     Presented by Bulleit Frontier Whiskey – The Producers Award, now in its 27th year, honors emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity and vision required to produce quality independent films.

    Rachael Fung
    Graham Swon
    Monique Walton

    SOMEONE TO WATCH AWARD
    The Someone to Watch Award, now in its 30th year, recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition.

    Joanna Arnow – Director of The Feeling That the Time for Doing Something Has Passed
    Laura Moss – Director of Birth/Rebirth
    Monica Sorelle – Director of Mountains

    TRUER THAN FICTION AWARD 
    The Truer Than Fiction Award, now in its 29th year, is presented to an emerging director of non-fiction features who has not yet received significant recognition.

    Set Hernandez – Director of unseen
    Jesse Short Bull, Laura Tomaselli – Director of Lakota Nation vs. United States
    Sierra Urich – Director of Joonam

     

  6. 1 hour ago, Annara Snow said:

    Lots of reunions of people who were together in different movies amd shows - or in one case, two young women both starring in new  Disney versions of popular fairytales who got a lot of racist hate for being cast.

    Personal favorite is SHAME reunion of Mulligan and Fassbender. One of the gravest sins of Academy in 2010s was not nominating both of them in their respective categories for that masterpiece.

    A lot of interesting pairings. Naturally, Barbenheimer couldn't have been avoided. Also interested in Bening and Moore. As always, will watch all :D

    Couple of omissions, but I suppose KOTF crowd will do THR Roundtables. 

    ***

    In other news, MAY DECEMBER is finally available on Netflix. The first reactions are considerably more positive than the first Cannes reviews from May. Netflix has the usual Oscar bait in MAESTRO, but I wouldn't be surprised if MAY DECEMBER becomes their greatest hit of the Oscar season. Whoever is in charge, I do hope they won't make the same mistake like last year betting on the wrong horse. Portman and Moore know how to properly campaign and Melton could easily become the strong contender to challenge big names in his category. 

  7. New York Film Critics Circle (NYFCC) Awards

    Spoiler

    Best Film:
    Killers of the Flower Moon

    Best Director:
    Christopher Nolan, Oppenheimer

    Best Lead Actor:
    Franz Rogowski, Passages

    Best Lead Actress:
    Lily Gladstone, Killers of the Flower Moon

    Best Supporting Actor:
    Charles Melton, May December

    Best Supporting Actress: 
    Da'Vine Joy Randolph, The Holdovers

    Best Screenplay:
    Samy Burch, May December

    Best Animated Film:
    The Boy and the Heron

    Best Cinematography:
    Hoyte van Hoytema, Oppenheimer

    Best Non-Fiction Film:
    Menus-Plaisirs — Les Troisgros

    Best International Film:
    Anatomy of a Fall

    Best First Film:
    Past Lives

     

  8. 59 minutes ago, Annara Snow said:

    She should not have submitted for the Supporting Actress category because her role is not supporting. She is one of the leads. Actresses playing her sisters and mother would be supporting.

    The truth is she could have campaigned in Supporting Actress category. Having watched the movie, I can see the arguments for both ways. That said, I am glad she decided on campaigning in Lead.

    Spoiler

    I hate category fraud, and I hate the way it's treated like supporting category is treated like some sort of a consolation prize and the lead category as "the main prize". It should be about whether you are playing one of the leads or a supporting character.

    Sadly that is how it works these days. We have seen a lot of category frauds in the last years. I suppose the worst was 2016 with Alicia Vikander and Rooney Mara having to campaign in Supporting. Mara even objected back then, but sadly, that is how this circus works. Lately, more and more actresses are willing to campaign their co-lead roles in Lead category. Michelle Williams did it last year for THE FABELMANS, Carey Mulligan and Lily Gladstone this year. I support that and I agree with you. Supporting Actor/Actress Oscar is not some consolation prize.

    Spoiler

    I also find it really annoying when people commonly call the Best Actor in A Leading Role / Best Actress in a Leading Role categories "Best Actor"/"Best Actress". No, there is no such category at the Oscars. You have to look at SAG awards or some others that don't have separate leading and supporting categories for that.

    For me, it is just linguistic thing, but I suppose you are right. No, televised awards always have separated Lead from Supporting performances. Movie festivals for example don't. But mostly Lead Actor/Actress win, although not necessarily. Cate Blanchett has won Volpi Cup at Venice for "I'm Not There" and that was Supporting Actress category at the Oscars. 

    And, yeah... I have edited the opening post. When I'm wrong, I'm wrong :D

  9. @Annara Snow, if I remember correctly, we come from the same neck of the woods (unless you moved) so I am pretty much around that number too. That said, I expect this list to change, like always.

    Honestly, OPPENHEIMER is the movie of the year and I can see AMPAS going in that direction. Pair it with Best Director for Nolan, couple of tech nominations and perhaps Murphy and RDJ in acting categories and there is a winning package. 

    That said, Scorsese made such a beautiful movie and we'll see how Academy reacts to it. They do like to nominate him, but when it comes to winning, not so much. I mean, THE IRISHMAN went 0 out of 10. 

    In acting categories, Emma Stone is "leading the pack" in Best Actress category. She hasn't won Volpi Cup in Venice, but POOR THINGS won bigger award so that is what ultimately counts (just like we understand that Sandra Huller has better chance of being nominated for Cannes' awarded ANATOMY OF A FALL than Merve Dizdar who won Best Actress at Cannes). That said, Stone is already a winner and if we have learned anything from Blanchett v Yeoh last year, it is that it can be used incessantly against you during campaign months. So the big question for Stone will be whether Academy is ready to give Stone her second Oscar. 

    I have watched ANATOMY OF A FALL and Sandra Huller is mesmerizing. As international actress, she will need the push from international bloc of Academy, and perhaps critics' push as well. The same can be said for Greta Lee, whose subdued performance is not the Academy's cup of tea.

    Mulligan and Benning ride on overdue narrative, but I doubt that will be enough for win... That leaves us with Lily Gladstone, whose borderline supporting performance has gained enough passion to carry her into the Oscar season. Which of the Michelles (Yeoh or Williams) will she prove to be this season, remains to be seen. She had a locked Oscar in Best Supporting Actress, but she decided to fight for the main prize. I respect that (from both her and Mulligan) but we'll see how it plays out.

    Sleeping giant in Best Actress category is Natalie Portman whose NETFLIX Todd Haynes movie, MAY DECEMBER may get her nominated.

    When it comes to Best Actor, we have the clash of the giants with Di Caprio, Cooper and Murphy. Di Caprio comes from Cannes with amazing reviews and I doubt there are many against giving him second Oscar. Cooper will have overdue narrative, with 9 Oscar nominations,  0wins (4 in acting categories). Murphy is the face of one of the most successful stories of the year, he is a beloved TV face and an amazing actor so we'll see.

    In Supporting categories, everything is open. Danielle Brooks got raves from screenings of THE COLOR PURPLE and I would be over the moon if she wins (I adored her in ORANGE IS THE NEW BLACK). We can expect some big name to find its way to this category like Moore or Cruz, but I would adore if it would be Rosamund Pike for SALTBURN. As I hear, she delivered the goods with some epic one-liners. I watched that clip "Men are so lovely and dry"... GLORIOUS!

    For gentlemen, RDJ and Gosling ride on the fame of Barbenheimer, but I wouldn't be surprised if neither wins, despite strong cases for winning. On the rise is Charles Melton and a lot of people who have seen MAY DECEMER want him nominated. Also, De Niro is never to be ignored as well as Ruffalo. 

     

    Later today, when they finish announcing the winners, I will post the winners of NYFCC. 

  10. Another year, another Film Awards Season... And once again, brought to you by none other :D

    2023 was an incredibly difficult year for industry. We have faced two guild strikes - screenwriters and actors, both ending in the past few months, but not without disrupting the industry for a while. This has also affected the beginning of fall season, when the most of Oscar contenders are being released. This year, award season begins in New York on November, 30th when New York Film Critics Circuit will award their favorite movies and ending in March, 10 with Academy Awards. This year had a great range of rather interesting movies from Barbenheimer phenomenon to Martin Scorsese and Yorgos Lanthimos' newest flicks.  Per usual, the award season will give us clues at which movies will become true contenders for most coveted movie award - Oscar. 

    This year, the award season will look like this and these will be the award shows that I will post about here:

    Spoiler

    MARCH
    3/3: American Society Of Cinematographers Award Winners ((ASC)
    3/3: Motion Picture Sound Editors Golden Reel Award Winners (MPSE)
    3/3: American Cinema Editors Eddie Award Winners (ACE)
    3/3: Guild Of Music Supervisors Award Winners (GMS)
    3/7: Casting Society Of America Artios Award Winners (CSA)
    3/10: 96th Academy Awards (AMPAS)

    That's all folks! Hope to enjoy this season with some great cinema and nice conversation... As always, it is a pleasure :wub:

    VARIETY'S ACTORS ON ACTORS (COMPLETED)

    VARIETY'S DIRECTORS ON DIRECTORS (COMPLETED)

    THE HOLLYWOOD REPORTER ROUNDTABLES (will be updated as the episodes are released on YT)

    LOS ANGELES TIMES ROUNDTABLES

    OSCAR SHORTLISTS

    BAFTA LONGLISTS

    GOLDEN GLOBES WINNERS

    SCREEN ACTORS GUILD AWARDS - NOMINEES

    DGA NOMINEES

    GUILDS NOMINATIONS

    PGA NOMINEES

    THE CRITICS CHOICE AWARD (CCA) WINNERS

    BAFTA NOMINATIONS

    ACADEMY AWARDS NOMINATIONS

    AACTA International Awards WINNERS

    DGA WINNERS

    BAFTA WINNERS

    WGA NOMINNES

    GUILDS WINNERS

    César Awards WINNERS

    SAG-AFTRA WINNERS

    Independent SPIRIT Awards WINNERS

    PGA WINNERS

     

     

  11.  

    1 hour ago, Arakasi said:

    Iirc in season one when he met Min I think they hinted at the 3 women thing. So I don’t think they’re changing that.

    Yes, but those three women don't necessarily have to be Elayne, Min and Aviendha. TV Rand is much more connected to both Lanfear and Egwene than book version. And Min's vision could easily be transformed into something else. 

    49 minutes ago, Poobah said:

    I also don't think they'd have spent so much time foregrounding Alanna's poly group if it wasn't going to be used.

    This will be sensitive issue, as the Aes Sedai-Warder bond is so beautifully depicted with Moiraine and Lan, and Alanna's bonding with Rand was... well, in lack of better words, r**e (I may be wrong with analogy, it's been 10 years since I read the books, but I do distinctly remember how uncomfortable that was).

    I am not sure they will do polyamorous relationship centered around the heterosexual male. I understand we have double standards, but between two already connected women to Rand - Egwene and Lanfear, we are adding three more... A bit too much.

    16 minutes ago, IFR said:

    It's hard to say how they'll approach it in the show. I doubt they'll go for the poly relationship as it is in the books. It has been foreshadowed by Min that Rand is with three beautiful women, but that could mean anything. Lanfear is a beautiful woman. It could be someone else, too.

    Or it could be the same women as in the book, but a different dynamic. Maybe Elayne and Rand are together, but Elayne is also with Aviendha. Maybe Aviendha and Rand is a thing, but she is also interested in Elayne and Perrin. Etc.

    Even though Alanna is in what is portrayed as a positive dynamic with two men, I think it's likely the show will make an effort to depict Rand as being kind of a selfish pig for going outside of monogamy, if I have any proper sense of the showrunner's approach to things so far. Unless Rand becomes bisexual and makes advances to Mat or some other male, in which case it probably will take a more positive spin.

     

    I agree with this. 

    I thought that perhaps the inclusion of Elayne on Tower may be indicative of them going different route. I sincerely doubt Lanfear will go any time soon (Natasha O'Keeffe was one of the best parts of the second season). It would make even more sense for her to direct her jealousy toward a female character that is in love with Rand, and not Moiraine. Plus, Natasha and Ceara (Elayne) are aesthetically very different women, with different energies, so it could nicely work...

    Yeah, Alanna's dynamic is positive, so they may play on it with different participants or different dynaics. I never liked it in the books, even though I somewhat understood what Jordan was doing. The bigger issue I have is that of three actresses, only Ceara leaves stronger impact that could warrant her appearance in seasons to come. Honestly, if MIn wouldn't appear anymore, I wouldn't mind. Aviendha is also someone I could live without. Interestingly, all three book characters are high on my favorites list, but on TV, neither Min nor Aviendha did anything for me. 

  12. I need to ask about this - what are the chances of condensing Rand's harem from the books into one woman - most likely, Elayne? The inclusion of Elayne at the tower, prominence of actress during press tour, makes me believe that it is more likely to keep just Elayne as romantic interest, especially due to the popularity of Lanfear and the fact Rand and Egwene are still semi-connected? I honestly have no idea what they'll do with Min, as her story completely failed IMO, and as for Aviendha she could be the window to Aiel world and culture.

    Just a thought. Wanted to know if anyone had given it any thought.

    1. The Bear Season 2
    2. Silo Season 1
    3. Andor Season 1
    4. Good Omens Season 2
    5. The Diplomat
    6. Marvelous Mrs Maisel Season 5
    7. Ted Lasso Season 3
    8. Abbott Elementary Season 2
    9. Foundation Season 2
    10. The Wheel of Time Season 2
    11. Queen Charlotte: A Bridgerton Story
    12. Shadow and Bone Season 2

     

    Spoiler

    I have just finished TWOT S02 and I am profoundly disappointed by it. The fact they mustered such talented cast (adoring Rosamund Pike and Sophie Okonedo, with huge shout-out to Natasha O'Keeffe as Lanfear) in a sizeable production and then have such uninspiring series is plainly sad. Besides some moments of individual brilliance, the season, albeit, improvement on the last, still failed to deliver for me.

     

  13. 3 minutes ago, Ser Rodrigo Belmonte II said:

    Also 3 hour runtime limits showings even further, not to mention the smaller marketing and production budgets in creating buzz…I’m pretty sure this must be his most profitable movie ever ,despite ranking lower than the dark knight flicks in revenue and adjusting for inflation. Good for him, hope he continues with Universal and tells Zaslav to fuck off in trying to woo him back 

    Of all his box office successes, OPPENHEIMER has the lowest budget. INCEPTION had $160M, INTERSTELLAR $165M and BATMAN movies are circa $200M. OPPENHEIMER practically rode on Barbieheimer marketing. WB spent some $150M in marketing of BARBIE and obviously it helped OPPENHEIMER too. One day, someone will do the analysis of what happened this July and it will be interesting to see how this synergy helped both movies.

  14. 6 hours ago, Deadlines? What Deadlines? said:

    Not so much when you account for ticket price inflation. But yeah, still pretty amazing, especially when you consider that the films you mention both benefitted from a pg-13 rating. 

    Even f you adjust inflation, it still surpasses INTERSTELLAR, and is relatively close to INCEPTION (adjusted for inflation, it is below $1,2B). But, as you said, those were PG-13 movies, OPPENHEIMER is R-rated. Not to mention that cinema landscape has drastically changed post-COVID. 

    1. The Bear Season 2
    2. Silo Season 1
    3. Andor Season 1
    4. Good Omens Season 2
    5. The Diplomat
    6. Marvelous Mrs Maisel Season 5
    7. Ted Lasso Season 3
    8. Abbott Elementary Season 2
    9. Foundation Season 2
    10. Queen Charlotte: A Bridgerton Story
    11. Shadow and Bone Season 2

     

    I didn't think it would be that low, but there it is. I waited the season finale to binge watch it. Lee Pace sells Day like no one else could and frankly remains one of only few reasons this show is watchable. It was much better than first season, although plot holes, deus ex machina and cheap, lazy tricks riddled this incredibly beautiful series. And by beautiful, I mean visually. I can't remember the series looking so rich in its visuals. ANDOR was gorgeous too, but this is, a whole new level of TV beauty. Sadly, the story is lacking. 

    Moving on to ONLY MURDERS IN THE BUILDING, S03 of HIS DARK MATERIALS (will rank it here) and THE LAST OF US. I am epically behind the schedule for this year's TV. 

    ELSBETH, THE GILDED AGE and ASHOKA some time during October. I may be missing something, but I will remember :D

  15. 22 hours ago, Deadlines? What Deadlines? said:

    "Nature's way of healing." :lmao:

    I have to agree with Denis. I thought this film would be successful, but if you told me it would do Dr Strange MoM moneys, I'd have said you were nuts. 

     

    I don't think anyone could have predicted OPPENHEIMER becoming such big success. I mean, it surpassed both INCEPTION and INTERSTELLAR, two movies that had such incredible popularity. I am very happy for Nolan. It is truly incredible achievement and I think many are happy because it proved people will come to the theatres for a good story. 

    Having said that, here is another information. The distribution rights in America are for 100 days (henceforth, don't expect OPPENHEIMER on VOD anytime soon). Today (September, 21st) is is 62nd day of release. Meaning, OPPENHEIMER will stay in cinemas for another 38 days. I suppose they will soon end, and then leave couple of weeks for Oscar campaign. 

  16. OPPENHEIMER currently at Box Office: $912M

    Only second highest grossing drama film in history (behind TITANIC)

    The highest grossing biopic of all time (surpassed BOHEMINA RHAPSODY which is at $910M)

    The second highest grossing R-rated movie (behind JOKER)

     

    This movie is a perfect mix of high profile critics darling and box office success that can do well at Oscars... We'll see.

  17. Just few thoughts after S02E04

    The biggest problem for me is that we don't understand the foundations of this new world in the series. We are 12 episodes in, and I doubt anyone would be able to answer the simplest of all questions whether it is "What is the Dragon?" or "What is Aes Sedai?" I understand the dislike for exposition and throwing bunch of details at the audience, but we live in post-Game-of-Thrones world. If we are asked to remember 50 characters because it adds the depth to the story, we will do so. 

    I understand it is easier for Thrones because much of the plot relied on the real-life medieval dynastic wars, so those dynamics were easy to catch. Here, I doubt anyone can actually answer what Aes Sedai are supposed to be doing. Even what is easy to explain - like Cairhien and its politics, it is glossed over and we never get a true glimpse into how things are supposed to work. 

    As for damane, what a failure! In my mind, damane were like Handmaids from "The Handmaid's Tale" - not aesthetically, but in a way that you get uncomfortable by seeing them. It's been a while since I read the books, but I remember Egwene's disgust and pain and horror from "The Great Hunt" and IIRC, it haunted her until her end. The damane here, there is nothing I feel when i see them. I can't tell whether they are faithful representation from the books, but I thought that our first meeting with them would give off more sinister vibe. 

    Everything special about Wheel of Time books is gone from this adaptation. They get this or that right, but I just feel like the series has no narrative depth. And we are still at the stage when WoT is rather dynamic, easy to follow. And they just ignored it. Not even for the sake of "doing their own thing", but creating some sort of generic fantasy without the modicum of originality. 

    Despite my undying love for Rosamund Pike and the interest for the book series, I am profoundly disappointed by this. And I am hardly a book purist, as I haven't been a purist when it came to ASOIAF, let alone WoT. I just hope it gets better.

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