The Academy was packed for a screening of Damien Chazelle’s eagerly awaited film, Babylon. Big stars were in attendance for the q&a afterwards. Reviews are under embargo but social reactions are allowed. I’ll post a few of those here, along with photos from the event.
I would love to be writing an actual review of the film but I’ll have to wait on that. Reactions appear to be mixed on Film Twitter – which is to be expected when you are trying something bold — or taking a massive risk artistically. Listen, that is the only way you become a great filmmaker. You have to take risks. Lucky for Chazelle, he’s built up a reputation that allows him the chance to do that. How the Academy responds should be interesting.
During the q&a, Brad Pitt, Margot Robbie, Jean Smart and the rest of the acting ensemble talked about what drew them to the project, how difficult of a shoot of it was, what got left on the cutting room floor. They were, as you’d imagine, funny and charming. Jean Smart had the best quote when she commented on what it was like to work among so many naked extras, “I told myself not to look down and not to back up.”
Margot Robbie said that working with Damien Chazelle meant that even when she gave everything she had for a specific take, he wanted even more. She also said it was her most difficult role, and one she had a hard time abandoning at the end of the day. Diego Calva said the hardest part was doing the q&a, or press for the movie and also quipped that nothing has really changed in Hollywood. It is still Babylon.
I’ll write more on it later but my overall impression was that it’s going to be a love it/hate it kind of movie. The acting is strong – Brad Pitt is especially good in what I thought was a leading role. I thought there were three leads: Pitt, Margot Robbie, and Diego Calva. The cast is all-star, which could be good for a SAG ensemble nomination. Imagine having this cast at your show, along with Jean Smart, Tobey Maguire, etc.
Crafts – cinematography, editing, costume, production design, sound, score — all definitely in the conversation. It’s such a big bold reach I think it might be hard to ignore.
There isn’t one lead because the movie is less about the people and more about the industry, the time, and history. But I will have to save that for the review. In the meantime, here are some tweets:
Just watched #BabylonMovie – first reaction: it’s raucous fun & very daring. Develops into something remarkably dark, brutal and nostalgic, with a powerful sense of Hollywood lore – and again, tons of fun. Loved Brad Pitt and Margot Robbie performances. pic.twitter.com/zvkCZ4wdEN
Off topic but talking about big stars: I’m watching a fabulous series from HBO Max called ‘The Last Movie Stars’ – Ethan Hawke’s collection of letters and memories of Paul Newman and Joanne Woodward. With voice performances by Laura Linney and George Clooney among others, it is a fascinating and quite illuminating glimpse into the lives and careers of two legends that I have to say I knew very little about. Highly recommended.
And for those seeking more info on Marilyn Monroe – the doco on Netflix is really good. Like the Newman/Woodward one it uses oral histories and letters from significant players in the aftermath of Marilyn’s death and stages re-creations using actors to piece together the theories as to how and why she died. Called ‘The Mystery Of Marilyn Monroe: The Unheard Tapes’. I learned a lot about her from it.
Great review, thank you. It is certainly a labour of love for Ethan Hawke and you can tell how he spent the better part of two years of COVID! It looks quite the herculean task to resurrect those transcripts of the tapes and then piece bits of footage and behind the scenes to create the mosaic. Having the assistance and the wish of some of the offspring to make the series helped. And you’re right it doesn’t come off as nostalgic nor necessarily always sympathetic to the couple, but tells it as it was, as best it could; given the material and making it visual for the viewer.
TBofInisherin was ok. Way overhyped. I was getting tv movie vibes. A good movie but not the great movie that it has been called. Rumor is Amazon is gonna promote/screen 13 Lives, that is one of the greatest films of the yr.
Tar and even Banshees seem a tad too highbrow for the typical American. Those increasing international voters will need to rise for Banshees I suspect.
These early Babylon reactions read as niche, unlikely to contend for now. The box office marketing rollout is going to need to land, with solid holds through January and some Globes appreciation into Oscar nominations.
I noticed Thirteen Lives is getting a (belated) wide release in the states this week. I wonder if that’s a space to keep an eye on given its a solid Ron Howard, further now from the acclaimed documentary, a Colin Farrell appreciation year, and those high audience test scores. Similarly, Bones and All as counter-programming might steadily inch itself onto the tracker with each stumble.
If James Cameron can pull another rabbit out of the hat it is really opening up for him. I don’t think he has that level in him anymore, but I won’t be fool enough to write him off. That most recent trailer was more powerful than the earlier ones and should effectively pull in audiences. The eco-narrative might prove very enticing to voters. Probably a low level nominee at worst.
I’m not convinced about The Fabelmans, that nostalgic publicity machine will need to be in overdrive for months given it goes wide next week. If Belfast or Roma couldn’t do it then I can’t see Fabelmans getting there either. We know NBR has that Steven bias and you’d think it would need to win some award there in a few weeks like The Post and Zegler in order to remain hopeful. I also sense that Boyhoods aren’t the ticket to awards right now, Avatar 2 might have its measure with the daughter focus there.
I could see Women Talking finding a second wind during the season. A nicely timed press junket, a different cast member at each interview or award show, maybe a convenient controversy. And there is the Iran thing right now. She Said will be louder for a while, Women Talking just needs to wait it out.
I don’t understand the GDT thing so won’t comment there. I think he’s been pretty bad post-Pan’s Labyrinth, I’m fond of all his films up until that point but with Hellboy 2 and the Hobbit thing he just nosedived and hasn’t been the same since.
“If Belfast or Roma couldn’t do it then I can’t see Fabelmans getting there either.”
I think Spielberg is a bit of a bigger deal than both Branagh and Cuaron, especially by this point, which might be a key difference… Also, it’s good for The Fabelmans that the other recent big contenders like it you named (Belfast, Roma… Boyhood…) failed. Makes it more likely they pick it – since they don’t like to repeat themselves. (And there’s no significant evidence yet that they have any bias against this sort of film.) All it needs is to have the heart element, to be able to generate an emotional impact on voters. I haven’t seen it, so I don’t know. If it does have that (which I suspect some people will say it does and some will say it doesn’t, depending on how it worked for them – but the important thing is what the Academy crowd thinks about it), that’s usually the final, key ingredient to a BP win. It’s not always necessary, but it’s always a big help.
I was just saying that Roma and Belfast feel like they have laid the groundwork for voters to go for Fablemans – and they will feel like Spielberg (more than the previous two) has “earned” his place to tell his story.
Spielberg thought he was going to make his Cinema Paradiso instead he made his Cinema Purgatorio ! Iti’s a boring bloated two and a half hour Family Therapy Session with a miscast Seth Rogen of all people as the third wheel in a love triangle ! Judd Hirsch was way over the top and the best performance in the whole movie was given at the end which i loved by the way by someone who shall go nameless ! As for the so-called little boy films Armeggedon Time in my opinion is the best of all of t hem because it isn’t just about a family it’s about America , her past , her present , and her future with a wonderful award worthy performance by Anthony Hopkins !
Yup, similar thoughts here. But of course that’s just one of many possible scenarios that could play out. We won’t know until much later if this is a thing or just a theory. (As most things are at this stage – just theories.)
Fair points, I tip the hat to your analysis as per usual. But I disagree in that I think the failure of these little boy films, some of which are also in that autobiographical trend, suggests it isn’t exactly an invigorating space at this present time. I meant Boyhood as in boyhoods, not the film necessarily. I would have been fine with Boyhood, Belfast and Roma winning, all quality nominees worthy of a win. I agree that the evidence isn’t compelling for now though, and as an overseas Gen Y I’ll tend to underestimate the scale of cultural pull of Spielberg in the states.
“But I disagree in that I think the failure of these little boy films, some of which are also in that autobiographical trend, suggests it isn’t exactly an invigorating space at this present time.”
That’s definitely also a possibility. Hard to tell yet whether it’s that or it means nothing at all or whether it actually helps The Fabelmans a bit (that those movies didn’t win), as I think it could. That’s why, as usual, we need the precursors… To turn guesswork (which is also fun, of course, but in a different way) into hard data analysis (which appeals to me even more) and the quest to make that as objective, accurate and relevant as possible. 🙂
“as an overseas Gen Y I’ll tend to underestimate the scale of cultural pull of Spielberg in the states.”
As will I, probably. 🙂 (I’m in the same group. ’85.) But I’m trying hard not to, because I’ve done this sort of thing before, underestimated the importance of the director’s prestige (and/or “dueness”) for the movie’s BP-winning narrative, more than once…
Well, they don’t like to repeat themselves but they will pick a corny and schmaltzy movie about a family and one of the kids who has artistic dreams for a second year in a row?
I suspect that makes the two movies sound a lot more similar than they actually are. 🙂 Or than they appear to voters. But I’ll have to see The Fabelmans first, to know more about that, of course. You may well be right.
For the record: if they really are as similar as you say, then I won’t be predicting The Fabelmans to win, for sure! (Unless/until the industry precursors say otherwise.) I do stand by this principle. Consecutive winners are never that similar. For now, unless this is confirmed by others (that they’re indeed so similar), I’m still leaning in its direction because I don’t really trust the other options too much. With Banshees being the main alternative.
Great. We’re going to get some order restored. Now the world will finally make more sense again. You’re just limbering up, but the season has just started.
Um, Del Toro has two Oscars since Pan’s. And Hellboy 2 was awesome. The Hobbit fiasco is squarely at the feet of Peter Jackson, who likely won’t direct a fiction film ever again.
The Hobbit fiasco? They aren’t Lord of The Rings, but they’re not bad. Far from that. The first one is a bit off, but the last two are good. I like the second one. Especially the end of the second one and the beginning of the third is good.
I’m not sure. I’ve not watched them that often. Only when I get them on TV. I’ve always felt the beginning of the first one is very slow and doesn’t have the energy of the Lord of the Rings. But I do like the ending of Smaug and the beginning of Armies. You’re probably right about the third because it doesn’t carry on from its good beginning. They might not be great films, but they’re still good films.
I think I saw the first two twice, maybe. The third one I saw once in theaters, didn’t like and never revisited. But I might watch the first two again some day. (And, as a result, would probably watch the third one, too, so as to see if maybe I like it more on the small screen. That can happen for me sometimes.)
On The Lord of The Rings, I thought I was sure which one I liked the best and which I liked the least, but I’m not so sure anymore. I thought Fellowship was the best and Two Towers was my least favourite. But parts of the films seem to blurr into each other in my mind. My favourite character is Gollum/Smeagol and one of my absolute favourite part is the dynamic those two introduced. Those scenes are mesmerising and that’s what made him my favourite character. I hadn’t watch it for a while and last year I realised as I watching it that it was in fact in the second film, The Two Towers, and my jaw was on the floor with how great it was and I kept wondering why did I think that was my least favourite. It’s just got so much great stuff in it, it’s unbelievable. But then the others are just as good. I think Two Towers suffers unfairly in comparison because it leaves things up in the air and doesn’t seem to stand on its own like the other two can. Fellowship establishes the story characters, aesthetics, and the whole mood of the film and TROTK concludes the story and ties uo everything and the emotions are heightened so much. Actually I’m wrong. Two Towers does better when it stands on its own than when the films are seen a singular. At lest that’s how it seems to me. I’ve enjoyed it much more and noticed its greatness more clearly when I’ve seen it on its own. In that regard, it might be regarded as the best.
I think objectively speaking the first one is the strongest, and have thought so from I think the second time I saw all of them together, many years ago. Its world-building and dramatic tension are unparalleled, for me. Acting, production design, screenplay (one of the most quotable movies ever, I used to know most of the script by heart), cinematography… It’s unreal. But with rewatches I, too, actually, came to love The Two Towers the most. 🙂 It’s the most powerful, for me. The battle of Helm’s Deep, the poetry of it, it’s just like nothing else ever, in any movie… The ending with Faramir, Sam and Frodo… I completely love it, despite thinking it’s a bit more flawed than Fellowship. (It’s a lot less tight, some stuff lags a bit. The writing isn’t as strong. The CGI and PD aren’t quite as impressive either, I would say.) I like the first one almost as much, still, of course. The third one is definitely… third… but still a tremendous movie, the likes of which I wish were still made today. (Superhero movies try, but only rarely, in patches, achieve anything like that sort of grandeur. Many of them never do.)
Anyway, it’s difficult to choose between them because they’re all at astonishing high level. It’s like choosing between the Godfather Part 1 and 2. I go back and forth. It’s the same between Coppola’s best film between Godfather films of Apocalypse Now. I liked the latter more when I was young, but now i lean towards the former. And for some weird reason, I used to only see the first Godfather film on TV, rarely if ever the second. I was convinced the first was the best, but now I think it’s very close. The first is more iconic, but the second one is better written. I mean, the story of Vito’s immigration to America alone is enough, but the family dynamics are better written in the second film as well.
I saw The Godfather: Part 2 first. 🙂 So, for a long time, I liked it more. Now I would say they’re about equal in my mind, 1 & 2. (I also like 3 a lot, but it’s not on the same level. Not much is.) I’ve come to appreciate 1 a lot more, with rewatches. (Always thought it was excellent, but also used to think 2 was clearly better.) The young Vito subplot in 2 is fabulous, I love it so much! But there’s a lot of great stuff in 1, as well. (The Italian detour is again great, the restaurant and hospital scenes are amazingly tense, the Sonny stuff is very good… The Don’s final scene is iconic, for sure!) I agree 2 is probably pretty clearly better-written. It’s one of the best screenplays of all time, no doubt! Amazing stuff. Another one I used to know by heart. Flawless. I guess I would still give it the edge over 1, overall. It’s also a bit more impressive technically, most probably. Does more things in that department. But it’s much closer between the two for me, nowadays, like I said. As for Apocalypse Now, it took me a few viewings to fully appreciate it. Fabulous stuff, that, as well, but The Godfather 1 & 2 are something else. Can’t top those!
I don’t think so. A movie doesn’t need great reviews to get nominated or win if there’s passion. I never thought this could win but seems the nominations for this in some categories will be a layup
I don’t understand the urgency to give Margot Robbie an Oscar. I’m still puzzled and irritated by her nomination in 2020 for what was a totally unremarkable/mediocre performance in a bad movie.
I had an issue even sitting through The Woman King. The Fabelmans is unbearable schmaltz. I don’t think any of these two will win in the end. At this point, I think it’s up to EEAAO and Women Talking. Imagine a third female director in a row taking directing.
I have him as the tentative frontrunner, but with Babylon apparently being divisive that makes Cameron next one up, doesn’t it? And despite the naysayers, Team Everything Everywhere is working the screenings hard lately.
I think EEAAO might even win Picture. I still believe Yeoh will be unbeatable, and it might take screenplay, supporting actor, film editing, so Picture might even be likely, but I really can’t see it get Directing. And I can’t believe Spielberg can win for … that film.
I’ve said over and over that the EEAAO tier of contenders will need a lot of other films above them to stumble in this phase, and it appears that Wakanda and possibly Babylon have.
EEOAO definitely not winning BP. The only lead it has is The best supporting actor that’s all. People especially fandom have been way over predicting EEOAO.
Liked by who? The critics? Even they were lukewarm about it. The film doesn’t seem to have any directorial ambition or anything that seems to get her name as best part of the film or anything like that. It’s mutes reception and it’s more respecting the jard subject than anything else.
I’m basing it on reviews and critical reactions. I know she’s well liked because her previous filns have critical acclaim. But what’s the evidence that the industry likes her? And my point is that if the critics aren’t that bother about her films especially its direction, why would the Academy?
Daring and bold. Soo…it’s not winning Best Picture then. Trying something different and straying from the norm is not something the voters like, especially with the Preferential Ballot.
I liked the performance, I liked her presence, but I wouldn’t vote for her. It’s a very theatrical performance, fierce and in your face, but it’s not the masterclass I expected. It’s pretty much the same throughout the entire movie. It’s effective but … I can’t really explain it well enough, the film is beyond the performance, what’s so thrilling about the film is beyond the performance.
I think Yeoh has the passion, her film is only getting stronger and has all the buzz right now. Many believe that it might even win Best Picture. I doubt it but Yeoh is the go-to performer they can recognise. They will honour her, they will honour her career, they will honour the first Asian woman in best actress.
Given how much momentum Yeoh has and that her momentum is only going stronger and stronger, I believe she’s a done deal. With Blanchett, they know that she will be back and frankly, I’m pretty sure that many won’t sit through the film (which is rather long, to be honest), many will be untouched by its greatness, many will find it snobbish, many will be repulsed by Lydia. So I think that EEAAO will be stronger in terms of Oscars, even though it isn’t an Oscar movie either. But something closer to them, something they might embrace.
Ms Yeoh is excellent & WAY overdue but Ms Blanchett’s work in Tár is one of a kind. Even as a fan of her work, I was not prepared for this level of immersion.
Tár IS Blanchett & Blanchett IS Tár… yet there is no arguing that the film is too much for the Academy that prefers Green Book (Especially over Roma, another exceptional miracle of art) & Driving Miss Daisy.
I just hope they don’t go for another middle of the road CODA & if they do… hopefully at least they reward Tár in acting & writing (But who am I kidding?).
I wouldn’t say that Blanchett’s work in Tár is extraordinary. She’s terrific, yes, but still in the direction you expect of her. And even then, there is a certain sense of playing make-believe but I won’t touch on this. I think Blanchett is great but Yeoh is still my choice for best actress.
It has a marvelous effect on me but Ms Yeoh was also incredible. I just hope we are not in for another surprise like last year (Ms Chastain is among my favorites but THAT was not the film she should have won for).
Blanchett is good, she has great presence, but this is a rather one-note performance. The character doesn’t go through a great transformation. I wouldn’t call this performance a masterclass.
The manga in question defies my rules!
I just reread this, and I think it’s great!
Off topic but talking about big stars: I’m watching a fabulous series from HBO Max called ‘The Last Movie Stars’ – Ethan Hawke’s collection of letters and memories of Paul Newman and Joanne Woodward. With voice performances by Laura Linney and George Clooney among others, it is a fascinating and quite illuminating glimpse into the lives and careers of two legends that I have to say I knew very little about. Highly recommended.
And for those seeking more info on Marilyn Monroe – the doco on Netflix is really good. Like the Newman/Woodward one it uses oral histories and letters from significant players in the aftermath of Marilyn’s death and stages re-creations using actors to piece together the theories as to how and why she died. Called ‘The Mystery Of Marilyn Monroe: The Unheard Tapes’. I learned a lot about her from it.
I totally agree. It’s illuminating on many levels. My review is here:
https://moviestruck.substack.com/p/the-last-movie-stars-2022-thirteen
Great review, thank you. It is certainly a labour of love for Ethan Hawke and you can tell how he spent the better part of two years of COVID! It looks quite the herculean task to resurrect those transcripts of the tapes and then piece bits of footage and behind the scenes to create the mosaic. Having the assistance and the wish of some of the offspring to make the series helped. And you’re right it doesn’t come off as nostalgic nor necessarily always sympathetic to the couple, but tells it as it was, as best it could; given the material and making it visual for the viewer.
The Whale is winning.
TBofInisherin was ok. Way overhyped. I was getting tv movie vibes. A good movie but not the great movie that it has been called. Rumor is Amazon is gonna promote/screen 13 Lives, that is one of the greatest films of the yr.
I think it’s excellent
The Whale would have been better if they had used Kirk Douglas’s Whale song from Twenty Thousand Leagues Under The Sea !
more room for the greatest film of the yr Decision To Leave
The Whale, Avatar, AQOTWF are getting stronger as the season goes.
Tar and even Banshees seem a tad too highbrow for the typical American. Those increasing international voters will need to rise for Banshees I suspect.
These early Babylon reactions read as niche, unlikely to contend for now. The box office marketing rollout is going to need to land, with solid holds through January and some Globes appreciation into Oscar nominations.
I noticed Thirteen Lives is getting a (belated) wide release in the states this week. I wonder if that’s a space to keep an eye on given its a solid Ron Howard, further now from the acclaimed documentary, a Colin Farrell appreciation year, and those high audience test scores. Similarly, Bones and All as counter-programming might steadily inch itself onto the tracker with each stumble.
If James Cameron can pull another rabbit out of the hat it is really opening up for him. I don’t think he has that level in him anymore, but I won’t be fool enough to write him off. That most recent trailer was more powerful than the earlier ones and should effectively pull in audiences. The eco-narrative might prove very enticing to voters. Probably a low level nominee at worst.
I’m not convinced about The Fabelmans, that nostalgic publicity machine will need to be in overdrive for months given it goes wide next week. If Belfast or Roma couldn’t do it then I can’t see Fabelmans getting there either. We know NBR has that Steven bias and you’d think it would need to win some award there in a few weeks like The Post and Zegler in order to remain hopeful. I also sense that Boyhoods aren’t the ticket to awards right now, Avatar 2 might have its measure with the daughter focus there.
I could see Women Talking finding a second wind during the season. A nicely timed press junket, a different cast member at each interview or award show, maybe a convenient controversy. And there is the Iran thing right now. She Said will be louder for a while, Women Talking just needs to wait it out.
I don’t understand the GDT thing so won’t comment there. I think he’s been pretty bad post-Pan’s Labyrinth, I’m fond of all his films up until that point but with Hellboy 2 and the Hobbit thing he just nosedived and hasn’t been the same since.
“If Belfast or Roma couldn’t do it then I can’t see Fabelmans getting there either.”
I think Spielberg is a bit of a bigger deal than both Branagh and Cuaron, especially by this point, which might be a key difference… Also, it’s good for The Fabelmans that the other recent big contenders like it you named (Belfast, Roma… Boyhood…) failed. Makes it more likely they pick it – since they don’t like to repeat themselves. (And there’s no significant evidence yet that they have any bias against this sort of film.) All it needs is to have the heart element, to be able to generate an emotional impact on voters. I haven’t seen it, so I don’t know. If it does have that (which I suspect some people will say it does and some will say it doesn’t, depending on how it worked for them – but the important thing is what the Academy crowd thinks about it), that’s usually the final, key ingredient to a BP win. It’s not always necessary, but it’s always a big help.
I was just saying that Roma and Belfast feel like they have laid the groundwork for voters to go for Fablemans – and they will feel like Spielberg (more than the previous two) has “earned” his place to tell his story.
Spielberg thought he was going to make his Cinema Paradiso instead he made his Cinema Purgatorio ! Iti’s a boring bloated two and a half hour Family Therapy Session with a miscast Seth Rogen of all people as the third wheel in a love triangle ! Judd Hirsch was way over the top and the best performance in the whole movie was given at the end which i loved by the way by someone who shall go nameless ! As for the so-called little boy films Armeggedon Time in my opinion is the best of all of t hem because it isn’t just about a family it’s about America , her past , her present , and her future with a wonderful award worthy performance by Anthony Hopkins !
Yup, similar thoughts here. But of course that’s just one of many possible scenarios that could play out. We won’t know until much later if this is a thing or just a theory. (As most things are at this stage – just theories.)
Fair points, I tip the hat to your analysis as per usual. But I disagree in that I think the failure of these little boy films, some of which are also in that autobiographical trend, suggests it isn’t exactly an invigorating space at this present time. I meant Boyhood as in boyhoods, not the film necessarily. I would have been fine with Boyhood, Belfast and Roma winning, all quality nominees worthy of a win. I agree that the evidence isn’t compelling for now though, and as an overseas Gen Y I’ll tend to underestimate the scale of cultural pull of Spielberg in the states.
“But I disagree in that I think the failure of these little boy films, some of which are also in that autobiographical trend, suggests it isn’t exactly an invigorating space at this present time.”
That’s definitely also a possibility. Hard to tell yet whether it’s that or it means nothing at all or whether it actually helps The Fabelmans a bit (that those movies didn’t win), as I think it could. That’s why, as usual, we need the precursors… To turn guesswork (which is also fun, of course, but in a different way) into hard data analysis (which appeals to me even more) and the quest to make that as objective, accurate and relevant as possible. 🙂
“as an overseas Gen Y I’ll tend to underestimate the scale of cultural pull of Spielberg in the states.”
As will I, probably. 🙂 (I’m in the same group. ’85.) But I’m trying hard not to, because I’ve done this sort of thing before, underestimated the importance of the director’s prestige (and/or “dueness”) for the movie’s BP-winning narrative, more than once…
Well, they don’t like to repeat themselves but they will pick a corny and schmaltzy movie about a family and one of the kids who has artistic dreams for a second year in a row?
I suspect that makes the two movies sound a lot more similar than they actually are. 🙂 Or than they appear to voters. But I’ll have to see The Fabelmans first, to know more about that, of course. You may well be right.
For the record: if they really are as similar as you say, then I won’t be predicting The Fabelmans to win, for sure! (Unless/until the industry precursors say otherwise.) I do stand by this principle. Consecutive winners are never that similar. For now, unless this is confirmed by others (that they’re indeed so similar), I’m still leaning in its direction because I don’t really trust the other options too much. With Banshees being the main alternative.
As opposed to another cold, uninvolving museum piece about repressed sexuality that no one liked?
https://uploads.disquscdn.com/images/1fb5302cde260d9f3100d81a421d0a8d71dcb7a4179d0170580b7162c50eee2b.gif
https://uploads.disquscdn.com/images/aeefe6303bd15d654ce5e04028f05007e6fa4b77917769862b72bda4dc526cfb.jpg And add a pair of BAFTA prizes to it including Best Film, but whatever you have to do to prop up one movie by dissing another. I look forward to the theatrics of it repeating this season.
The prodigal has returned! Good to have you and your measured comments back.
🙂 Indeed – great to see you again, as well! Looking forward to many exchanges with you, and an exciting season to fuel them…
Great. We’re going to get some order restored. Now the world will finally make more sense again. You’re just limbering up, but the season has just started.
Yeah, definitely just getting warmed up… 🙂
Um, Del Toro has two Oscars since Pan’s. And Hellboy 2 was awesome. The Hobbit fiasco is squarely at the feet of Peter Jackson, who likely won’t direct a fiction film ever again.
I really hope Peter Jackson has a few more great films in him
Agree to disagree. All his films through 2006 I enjoy for what they are and give the thumbs up but I’m not into anything he made thereafter.
The Hobbit fiasco? They aren’t Lord of The Rings, but they’re not bad. Far from that. The first one is a bit off, but the last two are good. I like the second one. Especially the end of the second one and the beginning of the third is good.
Fiasco in the fact that Del Toro was out of circulation over three years and got fired from/quit the project anyway
I actually liked the last one the least. (Same as with the Lord of the Rings trilogy, in fact.) The first two are fine movies, indeed.
I’m not sure. I’ve not watched them that often. Only when I get them on TV. I’ve always felt the beginning of the first one is very slow and doesn’t have the energy of the Lord of the Rings. But I do like the ending of Smaug and the beginning of Armies. You’re probably right about the third because it doesn’t carry on from its good beginning. They might not be great films, but they’re still good films.
I think I saw the first two twice, maybe. The third one I saw once in theaters, didn’t like and never revisited. But I might watch the first two again some day. (And, as a result, would probably watch the third one, too, so as to see if maybe I like it more on the small screen. That can happen for me sometimes.)
On The Lord of The Rings, I thought I was sure which one I liked the best and which I liked the least, but I’m not so sure anymore. I thought Fellowship was the best and Two Towers was my least favourite. But parts of the films seem to blurr into each other in my mind. My favourite character is Gollum/Smeagol and one of my absolute favourite part is the dynamic those two introduced. Those scenes are mesmerising and that’s what made him my favourite character. I hadn’t watch it for a while and last year I realised as I watching it that it was in fact in the second film, The Two Towers, and my jaw was on the floor with how great it was and I kept wondering why did I think that was my least favourite. It’s just got so much great stuff in it, it’s unbelievable. But then the others are just as good. I think Two Towers suffers unfairly in comparison because it leaves things up in the air and doesn’t seem to stand on its own like the other two can. Fellowship establishes the story characters, aesthetics, and the whole mood of the film and TROTK concludes the story and ties uo everything and the emotions are heightened so much. Actually I’m wrong. Two Towers does better when it stands on its own than when the films are seen a singular. At lest that’s how it seems to me. I’ve enjoyed it much more and noticed its greatness more clearly when I’ve seen it on its own. In that regard, it might be regarded as the best.
I think objectively speaking the first one is the strongest, and have thought so from I think the second time I saw all of them together, many years ago. Its world-building and dramatic tension are unparalleled, for me. Acting, production design, screenplay (one of the most quotable movies ever, I used to know most of the script by heart), cinematography… It’s unreal. But with rewatches I, too, actually, came to love The Two Towers the most. 🙂 It’s the most powerful, for me. The battle of Helm’s Deep, the poetry of it, it’s just like nothing else ever, in any movie… The ending with Faramir, Sam and Frodo… I completely love it, despite thinking it’s a bit more flawed than Fellowship. (It’s a lot less tight, some stuff lags a bit. The writing isn’t as strong. The CGI and PD aren’t quite as impressive either, I would say.) I like the first one almost as much, still, of course. The third one is definitely… third… but still a tremendous movie, the likes of which I wish were still made today. (Superhero movies try, but only rarely, in patches, achieve anything like that sort of grandeur. Many of them never do.)
Anyway, it’s difficult to choose between them because they’re all at astonishing high level. It’s like choosing between the Godfather Part 1 and 2. I go back and forth. It’s the same between Coppola’s best film between Godfather films of Apocalypse Now. I liked the latter more when I was young, but now i lean towards the former. And for some weird reason, I used to only see the first Godfather film on TV, rarely if ever the second. I was convinced the first was the best, but now I think it’s very close. The first is more iconic, but the second one is better written. I mean, the story of Vito’s immigration to America alone is enough, but the family dynamics are better written in the second film as well.
I saw The Godfather: Part 2 first. 🙂 So, for a long time, I liked it more. Now I would say they’re about equal in my mind, 1 & 2. (I also like 3 a lot, but it’s not on the same level. Not much is.) I’ve come to appreciate 1 a lot more, with rewatches. (Always thought it was excellent, but also used to think 2 was clearly better.) The young Vito subplot in 2 is fabulous, I love it so much! But there’s a lot of great stuff in 1, as well. (The Italian detour is again great, the restaurant and hospital scenes are amazingly tense, the Sonny stuff is very good… The Don’s final scene is iconic, for sure!) I agree 2 is probably pretty clearly better-written. It’s one of the best screenplays of all time, no doubt! Amazing stuff. Another one I used to know by heart. Flawless. I guess I would still give it the edge over 1, overall. It’s also a bit more impressive technically, most probably. Does more things in that department. But it’s much closer between the two for me, nowadays, like I said. As for Apocalypse Now, it took me a few viewings to fully appreciate it. Fabulous stuff, that, as well, but The Godfather 1 & 2 are something else. Can’t top those!
He didn’t make The Hobbit…
Sounds perfect for SAG. Ensemble piece, lots of big names and flashy performances. And Golden Globes.
I never bought Babylon as a contender. Sounds like a mess.
This just in: “The 2022 Oscars have been cancelled due to the Academy being unable to field a viable field of contenders.”
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I am looking forward to Oppenheimer ! And maybe Megalopolis !
Sorry, I meant 2022.
Seems to be pretty much out of the race. Bummer, I love Chazelle.
Says who? 12 pundits and a handful of critics? Hoping for the best for this film.
I don’t think so. A movie doesn’t need great reviews to get nominated or win if there’s passion. I never thought this could win but seems the nominations for this in some categories will be a layup
Robbie is so… not winning Oscar this season.
I don’t understand the urgency to give Margot Robbie an Oscar. I’m still puzzled and irritated by her nomination in 2020 for what was a totally unremarkable/mediocre performance in a bad movie.
Same here, never understood the hype about her. Not much range.
The only thing Bombshell deserved to be nominated for was makeup and that’s it.
Exactly, I have the same thoughts about Theron’s performance. And I still don’t get it how many thought she might win for that.
BP, as far as I’m concerned is The Fablemans vs The Woman King.
Woman King will be lucky if it gets nominated.
Boy if that’s the choice , no pun intended It must be Armeggedon Time !
Women Talking
Woman King isn’t going to scrape the final 10.
Fabelmans v Avatatar v Everything
no jinxing Avatar! Tar might be a stretch…
I had an issue even sitting through The Woman King. The Fabelmans is unbearable schmaltz. I don’t think any of these two will win in the end. At this point, I think it’s up to EEAAO and Women Talking. Imagine a third female director in a row taking directing.
Polley isn’t winning Best Director.
I haven’t seen the film, but she certainly has buzz. Whom are you predicting? Spielberg for his schmaltzy .. film?
I have him as the tentative frontrunner, but with Babylon apparently being divisive that makes Cameron next one up, doesn’t it? And despite the naysayers, Team Everything Everywhere is working the screenings hard lately.
I think EEAAO might even win Picture. I still believe Yeoh will be unbeatable, and it might take screenplay, supporting actor, film editing, so Picture might even be likely, but I really can’t see it get Directing. And I can’t believe Spielberg can win for … that film.
I’ve said over and over that the EEAAO tier of contenders will need a lot of other films above them to stumble in this phase, and it appears that Wakanda and possibly Babylon have.
EEOAO definitely not winning BP. The only lead it has is The best supporting actor that’s all. People especially fandom have been way over predicting EEOAO.
I don’t think she’ll even be nominated. Isn’t the film stagey?
That’s what I’ve heard but she is LIKED and that might be enough
Liked by who? The critics? Even they were lukewarm about it. The film doesn’t seem to have any directorial ambition or anything that seems to get her name as best part of the film or anything like that. It’s mutes reception and it’s more respecting the jard subject than anything else.
She’s personally liked and respected. And if you haven’t seen it how can you authoritatively say that the film had no directorial ambition?
I’m basing it on reviews and critical reactions. I know she’s well liked because her previous filns have critical acclaim. But what’s the evidence that the industry likes her? And my point is that if the critics aren’t that bother about her films especially its direction, why would the Academy?
Could be too divisive for a preferential ballot win. Probably very good news for Avatar.
Daring and bold. Soo…it’s not winning Best Picture then. Trying something different and straying from the norm is not something the voters like, especially with the Preferential Ballot.
I want Michelle Yeoh to win, and she most likely will, but my favourite film of the year, and I somehow doubt this will change, is Tár. Hands down.
Thoughts about Blanchito?
I liked the performance, I liked her presence, but I wouldn’t vote for her. It’s a very theatrical performance, fierce and in your face, but it’s not the masterclass I expected. It’s pretty much the same throughout the entire movie. It’s effective but … I can’t really explain it well enough, the film is beyond the performance, what’s so thrilling about the film is beyond the performance.
interesting split, but also i feel you just represented how lots of voters might think. the passion is just so much there for Yeoh.
I think Yeoh has the passion, her film is only getting stronger and has all the buzz right now. Many believe that it might even win Best Picture. I doubt it but Yeoh is the go-to performer they can recognise. They will honour her, they will honour her career, they will honour the first Asian woman in best actress.
Given how much momentum Yeoh has and that her momentum is only going stronger and stronger, I believe she’s a done deal. With Blanchett, they know that she will be back and frankly, I’m pretty sure that many won’t sit through the film (which is rather long, to be honest), many will be untouched by its greatness, many will find it snobbish, many will be repulsed by Lydia. So I think that EEAAO will be stronger in terms of Oscars, even though it isn’t an Oscar movie either. But something closer to them, something they might embrace.
Ms Yeoh is excellent & WAY overdue but Ms Blanchett’s work in Tár is one of a kind. Even as a fan of her work, I was not prepared for this level of immersion.
Tár IS Blanchett & Blanchett IS Tár… yet there is no arguing that the film is too much for the Academy that prefers Green Book (Especially over Roma, another exceptional miracle of art) & Driving Miss Daisy.
I just hope they don’t go for another middle of the road CODA & if they do… hopefully at least they reward Tár in acting & writing (But who am I kidding?).
I wouldn’t say that Blanchett’s work in Tár is extraordinary. She’s terrific, yes, but still in the direction you expect of her. And even then, there is a certain sense of playing make-believe but I won’t touch on this. I think Blanchett is great but Yeoh is still my choice for best actress.
It has a marvelous effect on me but Ms Yeoh was also incredible. I just hope we are not in for another surprise like last year (Ms Chastain is among my favorites but THAT was not the film she should have won for).
Over Blanchett? I don’t think so. Cate’s masterclass trumps so-called narrative of yeoh
Blanchett is good, she has great presence, but this is a rather one-note performance. The character doesn’t go through a great transformation. I wouldn’t call this performance a masterclass.