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 The Contenders II 
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Maverikk wrote:
Dr. Lecter wrote:
That film was based on the biggest bestseller of all-time.


If that were the reason, Scorcese's Last Temptation of Christ or The Greatest Story Ever Told wouldn't have tanked, and Jesus of Narzareth would be the biggest mini series ever.


Nono, Scorsese's film was what you'd call an adaptation "unfaithful to the source". You don't think Gibson drew $370 million worth of people on HIS name there :lol:

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Wed Sep 06, 2006 11:35 pm
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Dr. Lecter wrote:
Nono, Scorsese's film was what you'd call an adaptation "unfaithful to the source". You don't think Gibson drew $370 million worth of people on HIS name there :lol:


Greatest Story Ever Told is VERY faithful. People didn't care about movies with Christ, just like they didn't care about Pirates until Johnny Depp. I know one thing, it wouldn't have made 370 million if Mel didn't make it.


Wed Sep 06, 2006 11:44 pm
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That article kinda confirms my feelings on The Last King of Scotland and Catch a Fire. I think Forrest Whitaker is as close to a lock as possible for BA as someone could possibly be this early in the race. As for the latter, I'm not convinced it'll do any better then A History of Violence, but I definitely see it being in the race.

We don't know anything about it other then it having a very good cast, great premise and an acclaimed director, but if I were to guess what would win Best Picture right now, I'd go out on a limb and say Children of Men. I see Dreamgirls definitely getting a nomination, all the word that has come from it has been fantastic, the director just made a great film that was as far away from mainstream as possible and therefore couldn't receive much attention, and it has a lot of things going for it that I don't think Memoirs of a Geisha, Gangs of New York or The Aviator did (All of which I was against the Oscar chances of from day one btw).


Thu Sep 07, 2006 1:03 am
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You MUST post here in this forum more often, my good Moviedude.


Thu Sep 07, 2006 1:23 am
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Maverikk wrote:
You MUST post here in this forum more often, my good Moviedude.


Heh I'll have to give some credit to the Entertainment Weekly fall movie lineup article, due to no internet for two weeks I definitely read the whole thing, and some articles more then once. :lol:


Thu Sep 07, 2006 1:33 am
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MovieDude wrote:
Maverikk wrote:
You MUST post here in this forum more often, my good Moviedude.


Heh I'll have to give some credit to the Entertainment Weekly fall movie lineup article, due to no internet for two weeks I definitely read the whole thing, and some articles more then once. :lol:


I'm going to try to drum up active membership for this Oscar forum. More than last year! It wouldn't be the same if you weren't involved as much as you can be, however much that is. It's definitely looking like a more promising start than we got last year, as far as films delivering!


Thu Sep 07, 2006 1:49 am
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Premiere magazine has already posted their Oscar predictions...

Babel
Dreamgirls
Stranger Than Fiction
The Departed
Flags of Our Fathers
World Trade Center

I dont know - it kind of seems like they are just drawing names out of a hat (apart from Babel and Dreamgirls). I think its more of an early look than official predictions though. Stranger than Fiction???? hmmm

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Thu Sep 07, 2006 2:30 am
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MadGez wrote:
Premiere magazine has already posted their Oscar predictions...

Babel
Dreamgirls
Stranger Than Fiction
The Departed
Flags of Our Fathers
World Trade Center

I dont know - it kind of seems like they are just drawing names out of a hat (apart from Babel and Dreamgirls). I think its more of an early look than official predictions though. Stranger than Fiction???? hmmm


What is this World Trade Center gibberish??? :huh:

Another soon to be disappointed Dreamgirls pusher. :nonono:


Thu Sep 07, 2006 3:15 am
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What's up with the WTC insanity?

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Thu Sep 07, 2006 8:48 am
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http://www.rottentomatoes.com/m/volver/


So far, so good... :happy:


Go Penelope and Pedro!


Fri Sep 08, 2006 3:20 pm
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If you direct your attention to post #2 in this thread and scroll down, I added two new charts. RT scores for best actor, actress, supporting actor, and supporting actress from 1998-2005.

I didn't do COTC or metacritic, just RT scores and ratings.


Fri Sep 08, 2006 8:56 pm
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James Berardinelli's thoughts on Infamous:

James Berardinelli wrote:
Another year, another movie about the late, great American writer. However, despite covering much the same ground as last year's Capote, Douglas McGrath's Infamous doesn't feel like a remake. The events are the same, but the tone and perspective are different. Capote is at times cool and antiseptic, but Infamous is warmer and more emotionally satisfying. The deep-rooted cynicism that characterizes Capote isn't missing here, but it has been muted. It's fair to argue that, while Capote may have the better lead acting performance, Infamous may be a slightly better motion picture overall.

In the autumn of 1959, Truman Capote (Toby Jones) reads a newspaper article about a quadruple murder on a Kansas farm. Intrigued and thinking it might make a good topic for a magazine article or a non-fiction novel, he enlists his good friend, Nelle Harper Lee (Sandra Bullock), to accompany him on the journey to Kansas. Once there, he contents with a dour prosecutor, Alvin Dewey (Jeff Daniels), who initially rebuffs Capote's request for "special access" until the eccentric New Yorker regales him with stories of his interaction with Humphrey Bogart and John Huston.

Once the killers, Perry Smith (Daniel Craig) and Dick Hickock (Lee Pace), are found, Capote visits them in jail. It takes little effort for the author to coax Hickcock into talking, but the more intellectual Smith is reticent. Eventually, he and Capote bond, and this leads to an unconsummated love affair. Following the execution of Smith and Hickcock, Capote has an ending to his book, In Cold Blood. Its publication represents both Capote's triumph and his ruin. He will never complete another novel and, although he will live until 1984, the final two decades of his life will be unhappy ones.

Infamous illustrates how Capote becomes caught in his own trap. In order for his book to have the balance that will make it unique, Smith's viewpoint has to be represented. To get that, Capote must give the convict what Lee describes as "what he wants" - a kindred spirit. To do that, Capote opens up to Smith. He achieves what he desires, but at a price. He comes to care deeply for Smith, to the point where they both wonder if they are doomed soul mates. In the end, Capote becomes deeply conflicted. For his book to have the "proper" ending, the man he loves must die by the hangman's noose.

Since Capote and Infamous were in production at the same time, it's unfair to label either as the work of a copycat. Superficially, they are so similar, it's almost eerie (and a testament to how fascinating this era of Capote's life is for current filmmakers). It's the difference in approach that makes both movies worth watching on their own terms. Capote is the more intellectual of the two films; Infamous is more emotional. They exist to complement, not eclipse, one another.


Considering he gave Capote 3 1/2 stars, that's decent praise.


Sat Sep 09, 2006 1:13 pm
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Capote was boring and the film wasn't deserving of the praises just because Hoffman was so good. Hoffman- yes...Capote - no.

I think Sandra Bullock has the best chance out of that cast, but Capote's nomination last year cripples any chances for another Capote picture being seriously considered. Then again, stranger things have happened.

I've updated my signature with a few more nomination locks.


Sat Sep 09, 2006 4:02 pm
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Affleck won the Best Actor award in Venice for Hollywoodland :blink:


Sat Sep 09, 2006 4:08 pm
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Levy wrote:
Affleck won the Best Actor award in Venice for Hollywoodland :blink:


Totally deserveing, too. He's brilliant in the film! :smile:


Sat Sep 09, 2006 4:09 pm
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I wonder if Infamous had been released first if it had gotten all the noms that Capote got...

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Sat Sep 09, 2006 4:55 pm
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Daniel Craig has the best chance out of the major players for Infamous in my opinion, partially due to his role being the one that didn't get an Oscar nomination. I think that how Bond works will also play a part, if he knocks it out of the ballpark a nomination for this could be like a consolation prize. Admittedly I'm a bit biased as I'm perhaps the biggest Capote fan on these boards, but I can't see Infamous doing very well Oscar wise, this isn't 2005 and there's too much competition.


Sat Sep 09, 2006 5:13 pm
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From early word he was an odd choice for the role.

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Sat Sep 09, 2006 5:33 pm
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David Poland weighs in on All the King's Men and it's performances:

http://www.mcnblogs.com/thehotblog/

Quote:
All The Kings Men

So, what?s wrong with All The Kings Men?

If you had only one target to affix, it would have to be on writer(adapter)/director Steven Zaillian, who shows breathtaking arrogance in his effort to top the 1949 original based on the Robert Penn Warren novel.

Like any 57 year old film, there are certainly areas for improvement from the original. Cinematographer Pawel Edelman, in coordination with his director, takes a massive leap in shooting the beauty and the blight of Louisiana. Look back at the earlier film and you will be quickly reminded that it was shot almost entirely on sound stages.

Also, the freedom to be more direct about racial matters is significant... but not really taken advantage of here.

The freedom to be more forthright about sexual matters is taken up a bit, though still, Zaillian manages to be both overt and coy. And the truth of the matter is, this is not really a story about sex, except as in its relation to power. Yet, we still get the right-from-The-Right-Stuff strippers and exotics on stage for Willie Stark?s amusement.

And that brings us to Sean Penn, about whom it has to be said that his performance will divide audiences like the staff of Moses (if not that evenly). Yes, he?s chewing scenery. But Willie is chewing scenery. His bluster is his sword and his shield. And that idea in the characterization is fine. But Zaillian doesn?t bring that to life. And one of the character decisions that I find emblematic of this performance and the whole movie is the fat padding Penn puts on with what appears to be some irregularity. Penn is not a big guy. Broderick Crowford was. But like Dustin Hoffman taking on Willie Loman in the shadow of Lee J. Cobb, the smart call would be to use the little man against the big guys things. Instead, he is somewhere in the middle. And it doesn?t quite play.

The lead of this film, more than in the original, is Jude Law?s Jack Burden. And Law is excellent here. But the film runs off the rails by becoming Burden?s story even more than Stark?s, while in the original, Burden provided the point-of-view and was party to many of the story points. Here, it all seems to end up rotating around him, while Willie Stark just becomes a greedier version of what he was to start, believing his rhetoric to the end.

Kate Winslet is fine, but basically plays The Girl. Anthony Hopkins has too much screen time as the conscience that catches the king... and worse, he seems to be walking through what has become the Hopkins version of the Morgan Freeman role. (Fortunately, Freeman turns up in another film at this festival, 10 Items Or Less, in fine comic form.) James Gandolfini is reduced to playing the kind of role he used to play before The Sopranos. Jackie Earle Haley?s role as Stark?s driver/bodyguard/sidekick has been reduced from the original and repeated scenes of him shooting are not only bad foreshadowing, they are, in the end, false foreshadowing. And Mark Ruffalo must be all over that cutting room floor as his performance seems to be a mere prop to the storytelling, a few moments too important to cut... but it feels like someone would have been happier to lose the entire character.

But hey, it all comes back to that script. It feels like it was written for a 4 hour epic and that they edited out everything of weight, leaving only the story and as much of Kate Winslet and Tony Hopkins as they could. It is so insanely complex and so unsuccessful in giving us a reason for appreciating the complexity that while there are many quality pieces, there is no excuse.

And as with movies this self-important, you always, desperately need the great memorable lines of dialogue. And there are none here. There are moments that click, but none that stick. And that is movie death.

I?m not saying it?s the worst movie you?ll see this year, this month, or this week. There is too much well-intended effort for it to be that bad. But judged on the scale it sets for itself, it is one of the year?s most profound disappointments.


Sat Sep 09, 2006 9:21 pm
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I REALLY get this feeling Prestige might surprise, especially now that more and more potential oscar nominated films have been getting reviewed and not really getting as great word as expected.

Seems ALOT of films are relying soley on one or two performances to actually make these films worth anything, while Prestige looks to have the whole package going for it. It's gonna be a tough climb because of the type of film it is but if it's as good as I think it'll be I wouldnt count it out at all, if any film can surprise this year it's Prestige since it's the one being kinda overlooked.

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Killuminati510 wrote:
I REALLY get this feeling Prestige might surprise, especially now that more and more potential oscar nominated films have been getting reviewed and not really getting as great word as expected.

Seems ALOT of films are relying soley on one or two performances to actually make these films worth anything, while Prestige looks to have the whole package going for it. It's gonna be a tough climb because of the type of film it is but if it's as good as I think it'll be I wouldnt count it out at all, if any film can surprise this year it's Prestige since it's the one being kinda overlooked.


If The Prestige gets rave reviews, it certainly has enough mainstream appeal to be a big contender. As of right now I'm expecting general audiences to like it more then critics, but if it's big enough, yeah there's no reason it couldn't. It's just a wild card at this point, no one knows anything about it unless they've read the book.


Sun Sep 10, 2006 3:07 am
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The Queen won both actress and screenplay at Venice. I see it being a strong contender in more major categories like Capote instead of just actress like Monster.


Sun Sep 10, 2006 4:58 am
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More of James Berardinelli's Toronto thoughts, this time on Babel and Stranger Than Fiction.

James Berardinelli wrote:
Having gotten through the first couple of days of the festival, viewers now enter the heart of the frontloaded first weekend schedule. Only a dozen movies into this year's roster, I can affirm that it's already better than last year. While I have been disappointed by a couple of movies (most notably Shortbus, about which I wrote yesterday), my overall impression of this year's group of titles has been postive. Outside, it may be gray and dreary, but inside things have been anything but that.

Babel represents director Alejando Gonzalez Inarritu's conclusion to a stylistic and thematic trilogy begun in Amores Perros and continued in 21 Grams. Of the three, Babel is arguably the most powerful and the most accessible. As with 21 Grams, this movie is constructed as a puzzle, with different pieces transpiring during different times and in different places over a five-day span. However, this one is less complicated to put together. (Think of it as the difference between assembling a 250-piece jigsaw and a 50-piece one.) The temporaral discontinuities are not extreme, and there is clear background evidence of how each sequence relates to those around it. This allows story to take precedence over structure.

It's a compelling tale, one that delineates how small mistakes and lapses in judgment can have tragic consequences. It also illustrates how poorly we communicate in an ever shrinking world. In addition to those umbrella themes, the movie also has "smaller" messages for its individual segments. There are four of these. The first involves two children in a mountain village in Morocco. Their father has bought a gun to use to shoot predators hunting his sheep. One son, testing the range of the rife, fires a round at a tourist bus. The second segment features Americans Susan (Cate Blanchett) and Richard (Brad Pitt), who are on vacation in Morocco. She is shot and badly injured by the bullet fired by the boys, and her fight for life turns into an international incident with terrorist overtones. The third segment focuses on Susan and Richard's two children (Elle Fanning and Nathan Gamble), who are under the care of an illegal immigrant, Amelia (Adriana Barraza). When their parents can't make it home on time, she and her nephew Santiago (Gael Garcia Bernal) are forced to bring the children across the border into Mexico so she can attend her son's wedding. When the border patrol becomes suspicious of them on their return journey,there are dire consequences. Finally, in faraway Japan, deaf-mute teenager Chieko (Rinko Kikuchi) is trying to cope in a world that offers little in the way of affection. Her mother committed suicide and her father is a cold, distant figure. In an attempt to capture a little emotional warmth, she engages in a series of increasingly risky sexual escapades. How this storyline connects with the others is left for the second half of the movie to reveal, although I can say it's nothing shocking or sensationalistic.

One of the great strengths of Babel is Inarritu's ability to cope with issues of global importance while still presenting vivid characters whose individual problems are no less vital and compelling. There are no villains here. Crimes are committed, but none are intentional. Small errors snowball to have unintended and unimaginable consequences. One man's decision to buy a gun to protect his flock leads to two small white children being stranded alone in the Southern California desert. This is only one of many strands that is woven into Babel's web.

Perhaps the most poignant and personal story is that of Chieko. By occasionally showing her perspective (with an eerily silent soundtrack) and juxtaposing it with the strobe lights and thumping dance music of Tokyo's night scene, Inarritu builds her segments into something deeply affecting. As good as all the performers are - and they include the likes of Brad Pitt, Cate Blachett, and Gael Garcia Bernal - young Rinko Kikuchi steals the spotlight. Her work is heartbreaking and haunting. As much as we feel for all the other characters in Babel, Chieko is the one we want to cry for.

Babel is a masterwork from a director whose each effort re-inforces his international reputation. As mature and potent a piece of cinema as 21 Grams is, Babel elevates Inarritu's work to a new level. This is cathartic, thought-provoking, emotionally solid movie-making. It's the kind of movie we hope to see whenever we sit down in a theater to view a drama. Whether viewed amidst a flood of pictures in the middle of a film festival or on its own in a local multiplex, Babel stands out from the crowd. Its complex (yet not mystifying) storytelling, forceful character development, and superb cinematography make this a candidate for one of 2006's best offerings.

Stranger than Fiction does a lot of things exceedingly well, and almost none poorly. It takes a great premise and runs with it, neither wasting opportunities nor going off on tangents. It features strong work from both the main and supporting actors, and manages seamlessly to incorporate both humor and poignance. I was expecting Stranger than Fiction to be funny; I had not anticipated it to be as touching as it is. Director Marc Forster and screenwriter Zach Helm reveal great affection for their characters, and this is apparent in every frame of the finished picture.

Harold Crick (Will Ferrell) is a member of the anonymous masses - an IRS agent whose daily routine is dominated by numbers, not words or human interaction. For him, every day is like every other; for twelve years, he has lived a life of solitude. Then comes a mysterious Wednesday when Harold begins to hear a voice. Although he doesn't realize it at the time, this is not the voice of god or fate, but of author Kay Eiffel (Emma Thompson), and she's narrating Harold's experiences. At first, he thinks his toothbrush or tie is talking to him, but then he figures out what's going on: he's the main character in someone else's book. Kay's voice is an annoyance until she mentions that, little does he know, his death is around the corner. This forces Harold to seek help. A psychiatrist (Linda Hunt) thinks he needs to be medicated. A literary professor (Dustin Hoffman) gives him different advice. Although not believing Harold's tale, he advises the tax man to figure out whether he's in a comedy or a tragedy. Initial signs point to the latter.

Meanwhile, Harold's job takes him to a bakery to audit Ana Pascal (Maggie Gyllenhaal), the baker. She explains to him why she didn't pay her taxes, showers him with insults, then does everything possible to make his job tough. Harold responds by staring at her breasts, stumbling over his words, and generally making an ass out of himself. Meanwhile, the voice keeps making obervations Harold is uncomfortable with. Eventually, Ana takes pity of Harold and bakes him some cookies. In the words of one of cinema's immortal characters, this is the beginning of a beautiful friendship. Now, Harold has something to live for, which means it's imperative for him to locate the omnipotent force that is directing his actions.

This isn't Will Ferrell's first attempt at straight acting. He was okay in Melinda and Melinda and not so great in Winter Passing, but he's very good here, developing a likable character and never going over-the-top. He's funny when the script wants him to be, and heroic or tragic when that's called for. His chemistry with Maggie Gyllenhaal is palpable. Speaking of Gyllenhaal, who glows, this is another wonderful perfromance in a line of them. If she doesn't get nominated for something early next year, it will be a travesty. She has elevated everything from World Trade Center to Trust the Man to this movie, not to mention her powerhouse lead portrayal in Sherrybaby. Dustin Hoffman and Emma Thompson are fine in supporting roles. Queen Latifa is wasted as Kay's assistant. One wonders if the bulk of her work ended up on the cutting room floor, because it's hard to believe she would otherwise accept such a thankless role.

Once upon a time, Hollywood films used the slogan "You laugh and you'll cry" to get people into theaters. That's literally true of Stranger than Fiction. Forster, who has moved outside of the mainstream with Monsters Ball and Stay, comes back into the fold here, but that shouldn't be seen as a negative. This movie has the star power and potential for widespread appeal, but it's more intelligent than what we usually get from the studios. Nothing in Stranger than Fiction is cookie-cutter or formula driven. It's predictable in short spans, but not in an overall sense. The visuals are playful (Ferrell's numbers obsessions are colorfully illustrated on the screen with a series of overlays) but the emotional impact is not. Stranger than Fiction is a wonderful cinematic experience - not as serious as Babel, but welcome nonetheless. I'm glad the schedule didn't force me to lose one to pick the other.


Sun Sep 10, 2006 3:45 pm
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I'm extremely interested in Stranger Then Fiction. I kinda hate the trailer, but more for how it's structured then how the movie itself looks like it could potentially be. I don't see it being very big at the Oscars, but I wouldn't count it out anymore. Think you could add it to the list Mav?


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As a complement to Poland's ATKM review, apparently Jeff Wells slept through about half of it. And didn't like what he was awake for.

But we've known for a year that the movie was a failure, so this is not shocking news.

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