David Poland has declared, and Kris Tapley backs him up in the comments section, that Slumdog Millionaire is now the frontrunner of the 2008/2009 Oscar race. All of this worked out in a somewhat rushed negative review of Benjamin Button where Poland also says that the Brad Pitt film can’t win any of the top prizes at this year’s Oscars. He says that the film has “no conflict” anywhere in it. It’s funny to see how the movie is suffering all of the highs and lows of Oscar season before it’s even opened to the public. As far as conflict goes, I’d think being born old, abandoned by your parents and having to live life backwards is sort of its own conflict but that’s just me. One of the biggest conflicts in human nature is the bitter truth that youth is wasted on the young. You might not really understand this unless you’re on that side of things but conflict it is.
 |
||
-
UpComing
From film-releases.comNovember 20
Broken Embraces - Penelope Cruz, Director: Pedro Almodovar, (Sony Classics)
Twilight Saga: New Moon - Robert Pattinson, Kristen Stewart, D: Chris Weitz, (Summit)November 25
The Fantastic Mr. Fox - Voices of George Clooney, Cate Blanchett, Meryl Streep, Bill Murray, W: Wes Anderson, Noah Baumbach, D: Wes Anderson
The Road - Viggo Mortensen, Charlize Theron, Director: John Hillcoat, (Weinstein Co.)
The Princess and the Frog-- Animated, Director: Ron Clements, John Musker, (Disney)November 27
Brooklyn's Finest -- Ethan Hawke, Richard Gere, Director: Antoine Fuqua, (Senator)
The Private Lives of Pippa Lee -- Robin Wright Penn, Julianne Moore, Winona Ryder, Blake Lively, Mike Binder, Keanu Reeves, W/D: Rebecca Miller, Screen MediaDecember 4
Brothers -- Tobey Maguire, Jake Gyllenhaal, Natalie Portman, W: David Benioff, D: Jim Sheridan, Lionsgate
Everybody's Fine --Robert DeNiro, Drew Barrymore, Director: Kirk Jones, (Miramax)December 11
The Lovely Bones -- Mark Wahlberg, Rachel Weisz, Saoirse Ronan, Director: Peter Jackson, (Paramount)
Invictus --Morgan Freeman, Matt Damon, Director: Clint Eastwood, Warner Bros.December 18
Avatar -- Sam Worthington, Sigourney Weaver, Director: James Cameron, Fox
Nine -- Daniel Day-Lewis, Nicole Kidman, Penelope Cruz, Judi Dench, Sophia Loren, Marion Cotillard, Director: Rob Marshall, The Weinstein Co.December 25
Sherlock Holmes -- Robert Downey, Jr., Rachel McAdams, Director: Guy Ritchie, Warner Bros.December 30
The White Ribbon -- Susanne Lothar, ulrich Tukur
W/D: Michael Haneke
-
No Response for "Getting Down to It"
Thank god most academy members don´t read this prediction madness that is going on everywhere (do they?) – they watch the movies and vote for what they like, no matter the ups and downs that take place. Come on, is this Wall Street or what?!
Curious Case is a contender, period.
I think the critique about there being no conflict might somewhat be justified. A lot of people said in reviews that the stakes weren’t high enough or there were no stakes in the 1st place. The thing is, what conflict there is – again backwards – is purely artificial and it is there because the filmmakers want it to be there.
The central conceit of the film – again backwards – is the choice of the filmmakers and the reason why the film exists in the first place, any problems arising out of it would also be artificial because the filmmakers created the 1st artificial premise.
A story is where the storyteller creates some characters and then creates some problems from them. Most people would not care about the problem because on the surface they would think, its the storyteller who has created this absurd problem for the characters, he cant actually expect me to care about what happens because of it.
I think the primary reason for this is that the aging backwards thing is unexplained in the film or so I presume. If it could turn out to be a truly genuine problem for the characters and not just the story-tellers overactive imagination, then maybe people might care.
That said, I think the film is going to sweep the technical awards, the film is a technical achievement that much every one agrees. Its also remarkably beautiful to look at, judging by the trailers. I think it might have Cinematography, Art Direction, Costume Design, Make-Up, Visual Effects & Score in the bag. Thats a reasonably good haul.
I do find it interesting that this film (TCCOBB) has been listed as a front-runner and a “no chancer” before it even opens. Personally, I look forward to seeing it.
“Slumdog Millionaire,” on the other hand, doesn’t interest me in the slightest (at this point). I’ve read all of the glowing reviews, and I watched the trailer, and it just didn’t grab me at all. That might change, but, I think it might be the over-hyped pearl of the season (there’s at least one every year).
-Vincent
Slumdog might seem to be this years Juno, an extremely slight and trivial film. While it got glowing reviews too and was deemed a commercial film too, it was eventually forgotten by the critics come year end hardly made any best of the year lists. It was deemed to insubstantial.
Slumdog on the other hand, actually seems to be well directed, well shot on a difficult location and gritty & real.
Juno seemed like it was shot in one week and it was like the actors could have just performed the script without a director with results similar to the final film. But a lot of effort apparently went into Slumdog, apparently.
Maybe I’m being too harsh on Juno but I would have respected it more had it not been deemed worthy of best of the year awards.
I disagree with Tapley & Poland. “Milk” is our front-runner. “Milk” is even higher rated on both Rotten Tomatoes and MetaCritic.
Yeah, you’re being too harsh on Juno.
Any movie that can make me feel they way it did about not only Juno, but all the characters, has to have done something right.
Reitman’s direction is evident in all the scenes. He is just not overbearing…he lets things happen without too much of his ‘handprint’ on every scene. Subtle work.
i agree Dominik. All the online “critics” should stop speculating, it’s getting irritating now because Poland & Tapley are only being negative because they have to be different and justify their “status”, it’s not for them to decide anyway. TCCOBB is a MAJOR contender, I was at the BAFTA screening last night, the audience raved.
Yes, I think we have to take the “Slumdog Millionaire as frontrunner” buzz with a hefty grain of salt. While I’m convinced Slumdog will make the BP five, I’m not at all convinced it will win BP. Not yet anyway. It seems an unusual movie to actually win the big cheese (no “stars,” for one thing).
“Curious Case of BB” is going to have such a slew of nominations, so it will have the “most nominations” advantage. That used to be a fairly good indicator of what movie would win BP, but in recent years, of course, this hasn’t proven to be the case, either.
Remember that Kris T, by his own admission, was predicting “Into the Wild” to win BP at this time last year. So at this point in the Oscar season, we still know very little.
Fact 1 – Slumdog is loved by the reelgeezers (elderly AMPAS folk).
Fact 2 – It has wonderful reviews.
Fact 3 – There is evidence that the editing & cinematography branches will reward it. Possibly score and/or song.
Fact 4 – Danny Boyle is a respected director.
I think that Slumdog has a strong chance to sweep into the BP Top 5. And once there, since it has more ‘warmth’ to it than a ‘CCOBB’, maybe …. MAYBE it can take the title away.
I watched Slumdog Millionaire yesterday, I am disappointed to say that it is not a great movie as the reviews suggest. It is an entertaining commercial bollywood movie without songs. I hated the fact that everybody spoke in English (including slum kids). I am an Indian, and I think it does not even deserve a nomination. I have seen way too many movies like this in bollywood. I wish wall-e gets a best picture nomination.
I agree. I liked Slumdog but found the whole thing to be rather simplistic. I’ve seen a million Spanish language films just like it. It was a good movie but not the masterpiece so many are claiming it to be.
Fair enough, Sasha, but if “youth is wasted on the young” is the conflict, then doesn’t the film have less of that conflict than ordinary life does? Since its main character gains youth in his advanced age?
You’ve seen it, I haven’t, so this is a particularly speculative form of devil’s-advocate.
Well actually that is one conflict – another is that Button can’t ever have a normal life like everyone else – his own life’s journey is one conflict and heartache after another – he is in love with a woman who is living a normal-ish life, everyone will die before he does, yet he must live his life anyway.
In saw Slumdog last week and its essentially an R-rated Disney film. Australia, with all its warts, at least evoked emotion.
More than anything, I found myself smiling as a courtesy throughout Slumdog. Jamal and Latika’s love story is paper thin at best.
I don’t see how a win is even likely, it’s 4th in line.
@ Sasha: Can’t argue with that. Wish I could see the movie today.
On the topic of Slumdog’s chances for the win: if “the happy one” is going to win this decade, this would be the year it would happen, right? Because Hollywood is celebrating the results of that other contest that just happened?
I think that SM is lacking something that TCCOBB, TDK, M, and RR have–a pedigree. No familiar actor/actress. Danny Boyle is hardly a top director. I couldn’t name a BP winner that didn’t have a name associated with it.
Benjamin Button, Milk, Slumdog & Revolutionary Road seem locks with one hell of a fight for the 5th spot. And don’t discount Tilda Swinton for another supporting nod…
What’s interesting about the youth in getting old conflict in TCCOBB is that it reminds me of the torment Interview with a Vampire’s Louis (also Brad Pitt) has late in his vampire life.
I think Milk is a more reliable BP front-runner. But I love Slumdog. Last night I watched the reporting on the Mumbai attacks, and also caught the tail end of a family winning a million dollars on Deal Or No Deal, and got teary remembering the movie. I love that it simultaneously was drawn from the real, complex and f-ed up world, and also was purely and unapologetically a movie. That’s hard to do. I did have a small issue or two with it, but I do with every film. Slumdog is worthy of BP, but I would rather it not win, because of the hate-fest that would ensue.
OT: Is that Revolutionary Road’s FYC-ad real? Looks like it says “timelss”… New English?
Red Wine, with all due respect (and nice to see you again as the year perks up) JUNO most assuredly was NOT forgotten at the end of the year at all when it came to critics lists. It made a ton of em, and was actually the Number 1 choice of both Roger Ebert and Andrew Sarris, two celebrated critics on the opposite end of the aesthetic spectrum. The film was NOT deemed unsubstantial at all and made dozens and dozens of lists.
SLUMDOG MILLIONAIRE is not at all “slight” or “trivial.” Are we talking about the same film here? It is an electrifying, visual film with a highly complex style, that at times is breathtaking and electrifying. And it’s metaphorical as well. But I understand you are not exactly saying it is trite or trival, you are just saying that it may be “perceoved” that way. In case, fair enough.
@Sasha
Why cant Button ever have a normal life? Why cant he be with the woman he loves? Not because of circumstances, not because of characters or principles or ideals, but because of Eric Roth.
I am looking forward immensely to the film too. But I don’t expect to be moved. I hope to like it as I like Psycho, a brilliantly executed film, that I love for its cinematic staging, its skill of telling a story excellently but not because it moves me emotionally.
If Benjamin Button is extremely well made and competently and sure-handedly leads me through a very complicated story without moving me, I still think it absolutely deserves to win Best Picture.
I love a piece of art if it either dazzles me with its brilliance or moves me emotionally. Or both. It seems to me that this movie might belong to the former category.
Like last year I loved I’m Not There because of its brilliance. It was more of an intellectual pleasure than an emotional one.
I think if people do away with requirement of being moved by a film to like it, all the critics would stop calling Benjamin Button cold or aloof and we might have our front runner ready.
If there’s no conflict in Benjamin Button, then there was even less in Forrest Gump. And we all know how well that turned out. FG was just BB without the backwards aging; he just went through life and observed things, and could never seem to connect with the love of his life. And that was enough for everyone to go gaga.
I wouldn’t count out Benjamin Button at all.
Remember also, Kris is the one who said No Country for Old Men couldn’t win, and may not even be nominated, last year because it was too dark and cold.
Sam Juliano, my regards to you as well.
I solely based my comments about it being forgotten on these 2 lists, so take it in the appropriate light. These lists were culled together from hundreds of best-of-year lists.
http://www.indiewire.com/critics2007/
http://www.theyshootpictures.com/21stcentury_filmsyear.htm
Juno receives, shall we say short shrift, on these 2 lists.
All I mean to say that while a good film, it wont last like No Country will through the ages.
“One of the biggest conflicts in human nature is the bitter truth that youth is wasted on the young.”
Sasha, you hit the nail on the head. Is there anything more universal than that?
I’m not getting this argument about writer created conflict as a lesser theme. Of course, it’s writer created conflict. All stories are. And it’s F. Scott Fitzgerald created conflict not Eric Roth created conflict. Am I missing something in this complaint? I can’t imagine a bigger conflict than living your life backwards – okay, maybe Rodan vs. Kronos.
I loved the short story which I found funny and poignant. To me it’s an incredible story arc. To be young and less knowing while you are hobbled by the pains and disabilities of old age and then to grow in strength and beauty as your mind and wisdom grows is a lovely thought. As is ending your life – fading out as it were – with awareness and acceptance with the comforts of a newborn. I cannot wait for this film.
I have seen Slumdog, and I agree completely with Sam Juliano about it. There’s a difference between a film that is escapist and a film that is ABOUT escapism, and Slumdog is certainly the latter. It’s not copying Bollywood, it’s commenting on Bollywood, and the film’s slum scenes add a great layer of depth to its thoughts on the culture of entertaining fantasies that are so popular in India.
On top of that, Danny Boyle proves once again what a great director he is, because visually Slumdog is truly captivating, the best camera work I’ve seen all year. It elevates the material to new heights.
It will get nominated for Best Picture. Is it a frontrunner? I personally doubt it, but I wish it were.
All fiction is lies and fake, a figment of some writer’s imagination. That much we all know. But putting it so bluntly, what gets us through novels and movies if we know anything of the sort never happened?
Its the illusion while reading the novel, that what is written might actually have transpired. The more the possibility of the conflict being real and closer to real life, the more is the possibility of emotional investment.
But in Benjamin Button, this illusion is broken every second, as we know that the conflict portrayed is fantastical. The skill of the writer could be said to be cleverly hiding away the mechanisms of the story so that we cease to realize its a conceit. But what can we do if the conceit is so visible. There would naturally be some aloofness.
In Vertigo, we don’t really buy what happens, but we’re hooked none the less because of the implications. Button may be full of rich metaphors or might be a giant exercise in story-telling for the sake of it, I don’t know, I haven’t seen the film. But the accusation that the conflict might not be serious or credible enough, has some merit.
A.J hit Slumdog right on the nose. The movie is about popular escapism and the reason why it is similar to many bollywood movies is because it is challenging you to become victim to the escapism. I, along with the audiences at both my screenings, happily did. It is a beautiful film, and my favorite so far this year.
I’d have to say Milk is the front-runner. The table is, at the very least, better set than it was three years ago for Brokeback. I loved Slumdog (my #3 film of the year) but I have some trouble seeing it go all the way for the win.
@ red_wine: Your comments about visible conceit ruining a picture perfectly summarize my feelings on another movie: The Prestige. I just don’t think the filmmakers should be allowed to get away with a painfully obvious “twist,” even if they hasten to explain that the fact that it was under your nose the whole time was “the point.” If anything, that makes it worse.
Don’t mind me, I’m just droning on about other films to pass the ENDLESS WEEKS before I can see Benjamin Button or any of these other big contenders.
“David Poland has declared, and Kris Tapley backs him up in the comments section, that Slumdog Millionaire is now the frontrunner.”
ooh, I never bother to read Poland unless I’m forced to, as now, but this coalition of the willing sounded too good to miss.
I love how Kris and Dave “back each other up”:
aha!! with conflict like that in his comments, no wonder Poland sets the bar high for conflict in a movie. With “back up” like Kris Tapley, who needs “conflict”? (and I mean that as a sincere tribute to Kris.)
=====
Fact is, the vast majority people on the planet go through life without a classical Greek antagonist thwarting our progress with this antiquated idea of conflict. Fincher has proven himself a master at turning the traditional concept of conflict inside out, most notably with Fight Club (Antagonist vs. Protagonist? Same person!)
There are dozens of examples of emotionally involving movies and novels that move the viewer without the classical dramatic structure that insists on a “conflict.” Modern and post-modern drama is all about internal conflict and symbolic conflict.
“One of the biggest conflicts in human nature is the bitter truth that youth is wasted on the young.”
As dela said, Sasha nails it. “what’s more universal that that?” The conflict we all face — the ravages of age, made all the more poignant when Benjamin has to witness his unique form of dying all alone. (Benjamin Button is not immortal. He’s headed for death as inevitably as anyone else.) That’s why I think the conflicted premise of reverse aging will be felt equally strongly by audiences young and old I don’t care how old we are; if we’re over 18, we’re dying. In fact, we start dying the minute we’re born.
Dave Poland’s entire profound argument about lack of “conflict” amounts to one sentence:
wow, give this man a PhD. What a brilliant analysis! I’m convinced!
=====
As for the Gump – Button comparisons. The sophistication of Benjamin Button looks like a supreme refinement of the “sweeping pageant of life” genre, without all the Gumpian schmaltz.
I said a few weeks ago,
Robert Zemeckis is no David Fincher
Winston Groom is no F. Scott Fitzgerald
add to that,
David Poland is no Aristotle.
Not my favorite movie, by any means, but where was the conflict in Millionaire Dollar Baby?
Maggie Fitzgerald: Hiya! I wanna be a boxer.
Frankie Dunn: Shut up! No! …well ok, c’mon then.
….BAM! POW! PLOP!
Maggie Fitzgerald: uh-oh, I fucked up, boss.
Frankie Dunn: See? toldja so.
Maggie Fitzgerald: Yeah, thanks for all the conflict, dickhead. Real helpful. Next time try standing in somebody’s way a little, tough guy.
And then there’s Frankie’s big final conflict:
“Oh woe is me, my religion forbids pulling the plug! …Hang on, what the fuck do I care about religion?”
…PLOINK! FLATLINE…
“To hell with all this. Let’s go open a diner!”
Benjamin Button is a fantasy. Pure and simple. I can deal with that. I imagine many filmgoers will be able to as well.
Milk is the frontrunner.
Slumdog needs an actor/actress contender for the win. Because it doesn’t have a “face” to campaign for it, it might be fighting for that fifth spot.
The Reader and Revolutionary Road—it’s an either/or but not both, with Revolutionary Road leading.
The difference between Slumdog and say Juno or Little Miss Sunshine were the two latter films made a lot of money at the Box Office. Maybe I am wrong here but it seems to me that the Indie that is getting more buzz among regular filmgoers is The Wrestler. True I haven’t seen either film yet (I want to really bad!) but I just can’t see Slumdog making more than 20 million and that will be a problem. If you don’t believe me just look at Into the Wild last year. Speaking of BO, between Doubt, The Reader, Frost/Nixon and Milk there is at least one if not more I’m not There/ In the Valley of Elah in there. Meaning well respected or even loved by critics but no one outside of major markets wants to see it. Personally I think the only two movies even close to being locks right now are Benjamin Button and The Dark Knight.
Chris — I’m with you on the Wrestler. I have not seen it yet either, but from the previews it looks fantastic, and most people who have seen it have said it’s very moving and that Rourke is definitely heading for a nom. By extension, then, doesn’t it seem that it stands a good chance for a BP nom? I’m surprised more people haven’t mentioned it.
As for a front-runner for BP, I’m guessing Milk — partly because I hear it’s well done, and partly because I’m guessing AMPAS voters are eager to affirm the subject matter post-Brokeback/Crash and post-California initiative.
I’m also guessing that Benjamin is too long. Also, is it just me, or are Brad Pitt’s peers reluctant to recognize him?
Looks like we’re heading for a hot Revolutionary Road (Leo yells/Kate is nasty/lots of conflict) vs. cool Benjamin Button (Brad’s passive/Cate’s artsy/too little conflict) battle. Toss in an exotic, gritty, crowd-pleasing Slumdog; a timely, winning Milk (with Penn playing against type); and that Joker movie. Presto! You’ve got a horse race.
PS. Milk is the frontrunner.
“Fact is, the vast majority people on the planet go through life without a classical Greek antagonist thwarting our progress with this antiquated idea of conflict.”
That’s why MOST OF US don’t have movies made about our lives. They’d be BORING.
“Fincher has proven himself a master at turning the traditional concept of conflict inside out, most notably with Fight Club (Antagonist vs. Protagonist? Same person!)”
OH GOD. Ryan, I love you, but I must kill you. Seriously, we have to fight now. Monday, noon, at the flagpole. Until then, watch Adaptation over and over again and beg the screenwriting gods for mercy.
“There are dozens of examples of emotionally involving movies and novels that move the viewer without the classical dramatic structure that insists on a “conflict.””
True. But there are plenty of examples of movies that try to get by without a traditional conflict and suck noodles because of it. I’m still pissed that I paid money to see Secondhand Lions, for instance. Thank God I got to see the ROTK trailer.
I have to disagree with Chris on one point. I think “Slumdog Millionaire” will make more than $20 million when all is said and done. There’s an article on LATimes.com that claims the movie Hollywood types most wish they had a stake in is “Slumdog Millionaire,” not only because they believe it’s going to do well during awards season, but they also think it could well make $40 million or more at the box office, which is a large haul for a movie that cost only $14 million to make. “Slumdog” is a movie that’s going to have a slow roll-out onto screens; as it factors into the awards race, we’ll see it’s box office increase even more.
Also remember that Slumdog had a $36,000 per screen average during its opening weekend. Compare that to “Australia”, which averaged a $1318 per screen average on its opening day. In short, I think Slumdog is headed toward being perceived as a box-office success, whereas “Australia” has box-office flop written all over it, judging from the opening numbers, especially because it cost somewhere between $130-$190 million to make.
Amelie made $33 mil domestic and $173 mil worldwide.
The Full Monty made $45 mil domestic and $211 mil worldwide.
I’m with you, Robert. Slumdog Millionaire feels like that kind of international hit.
“David Poland is no Aristotle.”
Sublime
To quote Ryan Adams: “Amelie made $33 mil domestic and $173 mil worldwide.
The Full Monty made $45 mil domestic and $211 mil worldwide.”
If something similar happens to ‘Australia’ with it’s 120-130 mill budget; in which 40% are already taken out with Australian rebates … will it still be considered a flop?
What an interesting thread, so much to comment on I barely know where to start, but here goes:
red_wine, according to Wikipedia, Juno was on 17 Top 10 lists. I wouldn’t spend much time comparing it to Slumdog, as I’m with Sam Juliano and regard the latter film as a masterpiece, one that not only dazzles with its brilliance but also moves one emotionally. (In fact, I’m Not There did both of these to me, as well.)
I find Slumdog to be anything but trivial or slight. Both Silencio and AJ (above) have thoughtful comments on that subject. I wasn’t disappointed by the so-called paper-thin romance simply because Slumdog isn’t a character-driven film; the Jamal/Latika connection not only helps drive the action but also provides a metaphor or symbol.
On the other hand, Rob Y makes a point by saying Slumdog lacks a pedigree, that it doesn’t have a “name” associated with it. One could make the case that a film doesn’t need “stars” to get a best pic nomination (about 10 have done this in the last 50 years or so and have gone on to win). But, with history to guide us, a film seems to need a notable “someone” attached to it — a director, for example — to win the top Oscar.
When all is said and done, Slumdog seems like a sure nominee but a dark horse to win.
The above debate on Benjamin Button is fascinating, as well, with several thoughtful comments. red_wine, though you’re clearly an intelligent, thoughtful person, you seem to be disregarding the power of fantasy, as Mary B and others have discussed. One example that comes to mind is Big, where not only does the audience become quite emotionally involved with the characters but the lead (Tom Hanks) is a top contender for Best Actor.
To me, it’s too early to have a frontrunner because so many of the potential contenders haven’t been seen. At the moment, Slumdog and Milk seem to be the best two possibilities, both aided by real-world events that have enhanced the relevance of each.
Pierre de Plume, if you read my comments, I did not compare Slumdog to Juno but said that it might be perceived as such, as Sam Juliano picked up. I’m from Mumbai and actually cant wait to see my local over-crowded train station in an Oscar nominated film.
I don’t think fantasy is a lesser theme, I just think that if it does not have a parallel in real life or comment upon real life in an appreciable way, it might seem overcooked and absurd. I haven’t seen Big so cannot say much about it.
I think the premise in a fantasy cannot BE the conflict. Every fantasy film comes with its own premise & fantastical elements, but there preferably should be conflict apart from that too.
Its akin to having a story about a 50 feet man and the problems he faces due to it.
Pierre, I’m Not There was the best film of 2007. Cinematically, emotionally, completely.
And if you view Benjamin Button as a love story (and I do), the structure and the conflict are pretty clear. There used to be some formula about this. How did it go? Something like “boy meets girl, boy–” I can’t remember the rest… Anyway, the movie is all about love and maturity and acceptance.
I hate to bring this up again. Most people just want to be hostile towards anybody who mentions this and they just want ignore that a backlash and bias exists. A few people understand the bizarre truth deeply and understand the bias is illegitimate. These people are not maniacs and they should not be treated like they are when they are speaking more sense than most people. There is active campaigning going against TCCOBB because of the cycle of manipulation and deception that thrives against Brad and his mate. It was bad enough to begin with and has intensified because the media using his ex’s ( who has become the ultimate media favorite) comments has mislead much of the public whose minds have completely f** by this brainwashing and false perspective into thinking that Brad and Angie themselves confirmed the misportrayal. The core of that misportrayal is that accusation which is false and they have denied it gracefully and consistently for the past four years. The backlash and bias is all based on that accusation and functions on provoking the publics wrong and hysterical emotions about it. They still have not tried to combat this for many complicated reasons but if it is not handled properly, the film will be affected. This campaiging is especially damning and cruel because it is important for this film to not just be an award contender, a critical success, but it also needs to meet a big budget and do well at the box-office. It probably would have easily been able to accomplish all of that if not for the bias which has managed to be more vile and crazy. It managed to kill The Changeling’s chances but this film is a far superior effort. I am even more dismayed and baffled by the negativity, lukewarm to bad reviews, and points of critcism towards this beautiful masterpiece
than I was towards The Changeling.
I lack the sufficient amount of time to go into an analytical discussion
but I find it ridiculous that the new angle they are contriving against the film is that it lacks conflict. The premise is based on fantasy but the intense emotions that flow through you are very real. The entire focus of the film is based on conflict. Benjamin Button and the aging backwards leads to many conflicts one can easily imagine and understand. The film at its core is a tragic love story between Daisy and Benjamin. There are other plot elements relating to Benjamin’s discovery and journey. There is plenty that goes on in the film. I am offended by the notion that it is not deep or complex enough. It is magical but also very relatable. If people cannot connect to the characters because it is fantasy, they lack imagination and perspective. Conflict does not have to be rooted in complete reality, to appreciate the film you have to be live in this movie’s universe and understand the reality of the characters. I cannot even comprehend the people who are trying to delude people into thinking this film lacks conflict. His argument is a complete contradiction because there is a clear central conflict and numerous secondary conflicts that stem from the central one. There is nothing conventional or mundane about the conflict. It is both man vs. nature and man vs. man. The man vs. man battle is internalized instead of Benjamin Button fighting against a specific other individual. I also can’t believe you are blowing off an extraordinary film like Fight Club that revolutionized the doppelganger concept and many other thematic concepts like rebelling against our superficial society, our dark side taking over while splitting our psyche, and etc..to favor the pretentious Adaptation with its trivial themes. The only impressive feature of that movie, in my opinion, was Chris Cooper’s performance. The conflict is more emotional and mental instead of just overcoming physical obstacles.
It just seems people are nitpicking and coming up with any asinine angle to criticize the film. The other complaint was that this film was too cold?! There was nothing chilly or detached about it. Then people are even trying to spread the concept that all of Fincher’s films are cold. I wouldn’t consider it any more “cold” than other films that would be compared to Fincher’s other films. This film has such heart and soul. I am just scratching my head, wondering what the hell people are talking about? What is the matter with them? The other angle is that it is style over substance. They will try to campaign against Brad’s performance using the whole makeup/CGI issue. It kinds of reminds me how people downplayed Nicole Kidman’s performance in The Hours by using the fake nose against her. People are forgetting that he provided the voicework and even provided facial expressions for those sequences. It was an impressive and nuanced performance that deserves to be recognized along with Cate’s. Then they are trying to play the same angle that they did with Babel, by categorizing or comparing it with lesser films like Big Fish and Forrest Gump. With Babel, it was mainly compared with Crash and 21 Grams. They are just looking for lame excuses. It does not help that most of the world is under his ex’s influence and that she is schmoozing with the industry bigwigs as I type this. I compared this movie to other past award contenders and it definitely deserves award nominations because it does meet and even goes above & beyond the standard those films were evaluated by. I would not change anything about The Curious Case of Benjamin Button.
It should receive a Best Picture, Best Director, Best Actor, Best Supporting Actress, Best Adapted screenplay, Editing, Original Score, Art Direction, Makeup, Cinematography, and Sound Editing nominations.
I’ve heard about this huge conspiracy too. I was actually tipped off that the 1st screening of Benjamin Button was purposefully sabotaged.
What happened at that screening?
From what I heard, Danny Boyle is more concerned with Slumdog
Millionaire’s award prospects than its BO revenue. He staged such major PR Blitz’s for his other movies like Trainspotting. He should be
engaging in more promotion but I heard he does not want to take a big risk because of what happend with Sunshine. There were tons of press conferences and etc for that film and it did not meet his standards of success. He should be directing alot of the marketing
and promotional campaigns towards the NRI audience.( Non-Resident
Indian and other kinds of people who enjoy Bollywood films. )He has also has a cult fanbase of his own that he should be catering to.
There is a huge market for that in the U.S. I know the movie is not a Bollywood movie but it has many similar element and appeal.
I am happy people mentioned the escapism factor. Some of the criticisms being applied to Benjamin Button can also be applied to Slumdog. I found this movie to be highly entertaining and my reasons for rooting for this movie is more personal. Having Anil Kapoor and Irfan Khan in a Danny Boyle film with A.R. Rahman providing the music
made me incredibly excited about this movie even before I knew anything about the plotline. There should be more hype around this film beyond the anticipation from cinemaphiles like us. A lot of the older Asians are not familiar with Danny Boyle, don’ t follow the festival/award circuit, and are hardly aware of this film. He could gain a bigger crowd if he tried to market to them and there are dozens of ways he could do that because of the NRI culture and facilities that exist in the US, Canada, and U.K. He seems to be mainly operating on the Danny Boyle name more than anything else. However, when I
analyze this film by award contender standards, I find it to be unsatisfying and just lacking in many factors. I think it will get many
nominations but will win only a couple at the most. Best Picture, Best Director, Best Original Score, Best Adapted Screenplay, Best Editing, maybe an Original Song or Cinematography nomination. I think the BAFTA’s and maybe the Independant Spirit Awards will be very influential for the success of the film and increase its Oscar chances.
In a different year with different competition this movie would not
be touted as an award contender.
I also think Milk is a frontrunner and its strongest factor is Sean Penn
especially considering the political and sociocultural climate. I disagree
with people who keep insisting that the Academy is homphobic because they picked Crash over Brokeback Mountain. I didn’t like either film based on artistic merits. I am definitely not a bigot. Those people don’t seem to understand the attitudes that dominate in L.A., especially in the entertainment industry. It is also the right timing for
Gus Van Sant, David Fincher, and Danny Boyle who have been underappreciated and not sufficiently recognized in the past. The films are superlative by themselves and then you add the great body of work factor to it.
I have to add one more comment about the “cold” argument against Benjamin Button. I consider cold movies to be static in character development and plot. There were many transformations and growth in the characterizations and plotlines in this film. I also consider cold movies to be detached and lacking in emotional resonance and spirit.
That is not the case with this movie. All of the elements of this film are superb. There will be never be another movie quite like this and it should not be overlooked. The industry is trying its best to avoid
nominating both Brad and Angelina, or at least shut one of them out.
I hope they do not succeed. I wish they just had the guts and the clout to speak out against this injustice. They ( The force operating against them with most of the media being a part of it) have crossed many lines and violated many tenets of truth but lying about a confession was just crossing the ultimate line. I hope they won’t succeed because they are both deserving of nominations. It would make me more furious to see Brad snubbed than to see Angelina snubbed. I thought she was good but he was exceptional and exquisite. I also hope Michelle Williams gets nominated. I also think Cate Blanchett if she goes for supporting, will be the frontrunner for Best Supporting Actress.
I also disagree with the people who think last year was the better and stronger year. I found last year entires to be highly unsatisfying
and I thought it was a weak and lame year. Some people perceive the lack of locks, frontrunners, and no absolute favorites to indicate a weaker field but I think it indicates a stronger field because of the greater competition. I think there won’t be a movie that dominates most of the wins and there won’t be a big sweep. I think the same people and movies won’t win in every award ceremony leading up to the Oscars. I think even the nominations might differ from ceremony to ceremony because there is so much to choose from. I find that more exciting and stimulating. I think this season will have some suprises. I also think the critics are being generally more tough on the award contenders.
There is a conspiracy. I wish personal politics would be left out of it.
The two targets don’t deserve it because they did not do anything wrong, a lie should not have the capacity to create such corruption.
It is not just unfair and wrong but it is also ignorant because these movies would be beneficial for the industry. If they only understood that the truth serves the greater good more than the spin. People are too scared to confront the truth. It is not just detrimental for the targets, for the industry, but morally for the world.
At the screening, there were people rolling their eyes and making snarky remarks for no reason. They were clearly being prejudiced towards this film. Did it not appear fishy that bloggers were so determined and enthusiastic about attacking the film and creating a bad buzz based on a short reel that Fincher showed at Telluride? The irony is that his ex’s many influential connections came through him in the first place. She functions like a politican. She had her ringers and cronies in that crowd at the screening. She is a socialite, unlike Brad who is a loner and a disgraced outcast because of her.
She is schmoozing with industry executives and academy members.
She throws parties, wines, and dines with them. She is the most popular girl in school , the queen bee and at the top of the elite because of him. There are many horrible reasons why she played the victim card and why she continues to reinforce this whole storyline which is fiction. That is her source of power. She was not victimized because there was no infidelity or correlation between that relationship ending and the other one beginning but it was very easy to misportray it that way because of the gossip about that movie which created a great set-up from the tabloids who knew these two compatible figures would get together. I can go on and on but I don’t want to rehash what other people have tried to explain with such passion only to be treated with derision and outrage. I remember a couple of years ago, right before the globes, she sends David Arquette to confirm the misportrayal on Howard Stern. It created an extra unpleasant environment for Brad and AJ. I remember the coldness towards them and the lack of applause for Brad when his name was annouced. David and Courtney were met with grecheers. There are alot of examples of this. Her clique is the dominant one in the industry. I don’t understand her need for this extra campaiging when most of the world is serving her enough already. It is completely underhanded. Why would Jolie receive Critics Choice, Golden Globe, SAG, Independant Spirit nominations and then be snubbed for the Oscar? His position in the industry is shaky enough as it is. He is not going to sell out and start doing action movies and mainstream romantic comedies. Box office is usually not a concern or a priority but this movie had a very expensive budget. I heard Paramount is considering cutting out Plan B. This film cannot afford to flop. If it gets those award noms and critical praise, it will balance things out and a flop won’t matter as much. They are in a position where has to be success. Did The Changeling really deserve all of those bad reviews? Did TA of Jesse James and Babel really deserve all of those bad reviews? It seemed that the bias in terms of their movies from the public was starting to subside, but now it has been reinforced again. You cannot trust what the media says and they will fabricate statements and claimed it came from their mouths. Who knows how much it will affect everything? I went to a screening where people booed/grumbled or made a point in acting like they were bored and about to doze off. They were not giving the movie a chance.
There aren’t really any locks yet except for Milk. Even TDK and Slumdong Millionaire’s position is not completely secure. It will be an interesting race because each movie already has a passionate fanbase and hatebase. The Changeling, Valkyrie, and Benjamin Button are the only movies in which the bias is personal. It won’t be like last year when No Country for Old Men was the clear favorite with the media and public ( which I didn’t understand at all). I found this year’s contenders more impressive than last year’s .
Wow! This conspiracy might be far bigger than I initially imagined. Now I’m hearing of assassination attempts.
correction-great cheers
Watch The Curious Case of Benjamin Button, Milk, Slumdog Millionaire,
and Revolutionary Road!!! It will be worth your time and money.
Does anyone else suspect Talia and Lucy are the same person?
I haven’t seen “The Curious Case of Benjamin Button.” Personally, I hope it’s a great movie, but I have no personal investment in the outcome. I think, though, it’s a little far-fetched to imply that any criticism of the movie are dictated by a Jennifer Aniston-controlled media and blogosphere. Sometimes people roll their eyes or make snarky comments during a movie because they think a movie is bad or they’re not that into it (or because they’ve been drinking!), not because they’re purposefully trying to bring down a movie starring Brad Pitt or Angelina Jolie.
Babel and The Assassination of JJ etc did receive some bad reviews. They also received some very laudatory ones. In short, just like a lot of movies.
I too wish that Academy voters wouldn’t consider whether they like a person or not when they are marking their ballots. Unfortunately, that happens constantly in the voting process. It’s probably unavoidable to a certain extent. Voters are human. It has been going on with the Academy long before Pitt and Jolie. Yes, Jolie was nominated for a lot of other awards last year and didn’t get an Oscar nod. Who knows the reason? The same thing has happened to many actors and actresses in the past, however, so it’s hardly a unique occurrence.
Is there some animosity or jealousy or just plain celebrity exhaustion in Hollywood regarding Pitt/Jolie? Very possible. Does it taint voters when they are marking ballots? Maybe. But is it all part of a Jennifer Aniston sympathetic media, or Aniston cohorts who are busily running through Hollywood trying to badmouth or take down anything that has to do with Pitt/Jolie?
Nah, I don’t think so.
Ah, the scornful remarks are already starting to pour in. When people try to describe the truth in more detail, the more the deluded majority is willing to mock it. There has been alot of character assassination and the assassination of what the truth is. The conspiracy and corruption does exist. It is much bigger and deeper than you can define and comprehend. There is nothing amusing about this. Scoff if you must. I am not going to be ashamed of what I tried to explain.
I suppose this is what the Bush doctrine is all about, fighting the threat even before it crops up and if there IS no threat, create one and fight it anyway.
We are not the same person, we are just fighting for the same cause.
There is a minority trying to decrease the corruption of the majority.
Your first and last paragraph was a paradox of the truth. You can detect the bias in many ways and it does exist. You are just verification of how deluded and in denial most of the world is because they are involved in all of this. What I said was true. I can’t
make the effort to try to explain everything when people will just blindly reject and contradict it. On some level, you know many aspects of what I said was true. There is nothing far-fetched about it because what I described is reality and has been existing for a few years now. What you denouced is what is true, the media and public is JAniston-controlled. There is both open and underhanded sabotage, politics, and campaigning. Get a clue. The evidence is everywhere and right infront of you. I am not sharing this to upset people but to inform people to save them from turning into…I can’t
even think of the right word. How can you possibly say a bias does not exist? Almost everything has that slant. I am not going to link up more than billions of articles, visual commentary, and etc that proved what I said was true. I am trying to do what is right. For the sake of my sanity, I am going to leave. I can’t handle people like you which has become the majority. They are constantly tried to bring them down and anything associated with them. There is active sabotage. She has nearly everybody she wants to operate on an agenda against them. I know there were laudatory reviews and some succes, the bias does not work that way where it completely conquers and destroys but has an incredibly negative effect. They have managed to overcome some of it to a certain extent. There is nothing simple and easy when trying to describe this. It really is like trying to communicate with drones and robots, your minds have been programmed to automatically reject what is true and accurate. You have become blinded by the brainwashing. I am scared of people like you. It is unbearable knowing how much worse the world has become due to this petty corruption. I am not going to let you mess with my mind. I merely touched on the truth, it is too deep and encompassing to try to fully explain every facet of it. It is easier for the other side to pick at it and cut it down with lies and shallow remarks. It has gone to a level where it is impossible to explain the truth and nobody is capable of exposing this corruption. Insanity and irrationality has overwhelmed people’s minds. Fuck this and fuck you.
Now you are comparing this to the Bush doctrine, now you are inciting more craziness and new bizarre angles to attack the truth with. I did not create or imagine anything. Go to hell, Red_wine. You are part of the problem and perversity. The situation has become hopeless. I hope TCCOBB can overcome the bias. The bias goes way beyond their movies but it does have an effect on their movies.
Bye.
Umm. Sorry?
Lucy, is it true that Jennifer Aniston and Osama Bin Laden are one and the same person?
Lucy/Talia, I think I speak for everyone when I say… what in the FUCKING hell are you talking about? Nobody gives a shit about your gossip conspiracies. Go pick up an issue of PEOPLE and stop flooding this OSCAR blog forum with nonsensical blather. It’s spam is what it is, and this is a classy site that has no place for that.
Leave a reply