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2023 Oscars: Best Actress (Part 8)

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  • Bonehead
    Joined:
    Jan 20th, 2021
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    #1205100620

    I love EEAAO. If it were up to me, it would get 18 nominations and sweep the season.

    What I don’t love is how offended this forum gets whenever anyone suggests that EEAAO/Yeoh is vulnerable to being snubbed

    It’s starting to remind me of Power of the Dog last year, where every dissenting voice had to walk on eggshells when talking about it or they’d incur the wrath of GoldDerby users

    Suggesting that EEAAO/Yeoh is snubbable does not automatically mean that the user has any sort of agenda. They simply might not buy the hype, and, frankly, there’s large blocks within the Academy who might not either.

    This forum should be able to have a calm, reasonable debate over the possibility without resorting to personal accusations.


    Elsa Korr
    Joined:
    Oct 16th, 2020
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    #1205100627

    I love EEAAO. If it were up to me, it would get 18 nominations and sweep the season. What I don’t love is how offended this forum gets whenever anyone suggests that EEAAO/Yeoh is vulnerable to being snubbed It’s starting to remind me of Power of the Dog last year, where every dissenting voice had to walk on eggshells when talking about it or they’d incur the wrath of GoldDerby users Suggesting that EEAAO/Yeoh is snubbable does not automatically mean that the user has any sort of agenda. They simply might not buy the hype, and, frankly, there’s large blocks within the Academy who might not either. This forum should be able to have a calm, reasonable debate over the possibility without resorting to personal accusations.

    Thanks. That particular poster just has the weird penchant that screams more than just reasonable arguments to me (remember Opium during last awards season) since their argument is all but dismissive towards the movie.

    In all fairness, A24 records in bottling awards chances were the major concern for me personally.

    FYC:
    Best Director: Edgar Wright, Guillermo Del Toro, Jane Campion
    Best Picture: Nightmare Alley, The Power of the Dog
    Best Actress: Kristen Stewart, Thomasin McKenzie, Rooney Mara, Tessa Thompson
    Best Actor: Benedict Cumberbatch, Bradley Cooper
    Best S. Actress: Cate Blanchett, Diana Rigg, Anya Taylor Joy
    Best S. Actor: Kodi Smit McPhee, Willem Dafoe, Richard Jenkins


    MichelleReign
    Joined:
    Sep 16th, 2019
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    #1205100651

    Yeoh morphing into Cate, so that Academy gives her a guarantee nomination


    Barbra Please
    Joined:
    Oct 21st, 2018
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    #1205100660

    Yeoh morphing into Cate, so that Academy gives her a guarantee nomination

    https://platform.twitter.com/widgets.js

    Darling, the most memorable moments in the film where Cate Blanchett fighting a bunch of guys with dildos stuck up in their ass. Great, Great acting and choreography by Cate Blanchett!

    I hope Michelle Yeoh delivers an amazing performance in Tár.

    FOR YOUR CONSIDERATION

    Michelle Yeoh, Everything Everywhere All At Once
    Tang Wei, Decision To Leave
    Rebecca Hall, Resurrection

    James Hong & Jamie Lee Curtis, Everything Everywhere All At Once


    Jacob "Oscar Boy" Boe
    Joined:
    Apr 20th, 2019
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    #1205100671

    Not to be the one who beats the subject to death, but I think the people who don’t think Yeoh is locked are those that don’t really understand awards season. I hopped on the Internet Archive today and around this date (like plus or minus a week or less) in previous years it was Julianne Moore and Reese Witherspoon top two (2014), Cate Blanchett and Jennifer Lawrence top two (2015), Emma Stone, Viola Davis, Ruth Negga, Natalie Portman, and Meryl Streep top five (2016), N/A (2017 — nobody saved it in September that year), and Glenn Close, Lady Gaga, and Olivia Colman top three (2018). 2019-2021 weren’t loading for me for some reason even though there’s a plethora of captures, but I think the four other years prove the point well enough: awards season definitely gets wrenches thrown into it, but it doesn’t become an entirely different machine. Blanchett and Yeoh are locked at this point. It’s just a done deal. If their films hadn’t been seen yet maybe it could be up for debate, but they have and they’re likely going to be Best Picture nominees by all accounts. And no, it doesn’t matter that EEAAO is an absurdist sci-fi action dramedy. With a black gay coming-of-age film, a romantic movie with sex between a human and an amphibian humanoid, and a Korean-language thriller being Best Picture winners in the last decade, those type of arguments don’t hold weight anymore. So I implore everyone, let’s not waste anyone else’s time and only discuss those remaining three slots or the winner.

    Top Ten 2022 Films:
    1. Everything Everywhere All At Once
    2. The Fabelmans
    3. The Banshees of Inisherin
    4. The Batman
    5. TAR
    6. Top Gun: Maverick
    7. Bros
    8. The Woman King
    9. Elvis
    10. The Menu


    Hawk
    Joined:
    Aug 16th, 2019
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    Posts:
    #1205100674

    subject to death, but I think the people who don’t think Yeoh is locked are those that don’t really understand awards season. I hopped on the Internet Archive today and around this date (like plus or minus a week or less) in previous years it was Julianne Moore and Reese Witherspoon top two (2014), Cate Blanchett and Jennifer Lawrence top two (2015), Emma Stone, Viola Davis, Ruth Negga, Natalie Portman, and Meryl Streep top five (2016), N/A (2017 — nobody saved it in September that year), and Glenn Close, Lady Gaga, and Olivia Colman top three (2018). 2019-2021 weren’t loading for me for some reason even though there’s a plethora of captures, but I think the four other years prove the point well enough: awards season definitely gets wrenches thrown into it, but it doesn’t become an entirely different machine. Blanchett and Yeoh are locked at this point. It’s just a done deal. If their films hadn’t been seen yet maybe it could be up for debate, but they have and they’re likely going to be Best Picture nominees by all accounts. And no, it doesn’t matter that EEAAO is an absurdist sci-fi action dramedy. With a black gay coming-of-age film, a romantic movie with sex between a human and an amphibian humanoid, and a Korean-language thriller being Best Picture winners in the last decade, those type of arguments don’t hold weight anymore. So I implore everyone, let’s not waste anyone else’s time and only discuss those remaining three slots or the winner.

    I definitely see your point but one year ago today was Kristen Stewart not considered a lock and the same argument could have been applied to her?

    And for the record I do think Yeoh is making the line up.


    stormwarning
    Joined:
    Dec 12th, 2021
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    #1205100685

    I definitely see your point but one year ago today was Kristen Stewart not considered a lock and the same argument could have been applied to her? And for the record I do think Yeoh is making the line up.

    I don’t think Spencer is comparable to EEAAO at all. Also, Stewart and Yeoh have very different profiles


    roger88
    Joined:
    Sep 20th, 2012
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    #1205100728

    I think people need to consider this when saying X or Y.

    -Oscar nominations rewards PASSION. You don’t need the FULL AMPAS membership to be nominated. You need 223 votes who called you first place. Last year we had BOTH Kristen Stewart and Penelope Cruz nominated, Jesse Plemons nominated alongside Kodi Smit-McPhee and Jessie Buckley getting with Colman. The year before both Kaluuya and Stanfield and two years prior Yalitza Aparicio and Marina de Tavira.

    -For the discussion about the doubt of EEAAO, it’s returning circles. First people said it won’t be successful at critics, then at BO, then AMPAS members won’t voted for it and now this. Sometimes people don’t learn about this. AMPAS CAN vote weird things, if they have that passion. Get Out got 5 noms, Mad Max: Fury Road got 11 noms and so on. EEAAO even had screenings with AMPAS voters campaigning and speaking highly for the film

    -Now related to Yeoh. We’re on the eve of October and Yeoh isn’t only talked still but also her hype is still high after all these months. We saw the reception she got with her recent two career awards – One of them at TIFF (When she doesn’t even have a film there). The reports of pundits at Telluride about the talk of the race as Blanchett vs Yeoh and how Yeoh was charming and easy going with everyone on the room. The passion is there ditto the acclaim. This isn’t a polarized and alienating film (with a smug director who’s torpedo the Oscar chances of her leading actress every time he opens the mouth) like “Blonde”, or an Oscar bait flop. This is about an exciting performance in the underdog film story of the year. An indie film capable to surpass expectations.


    Rosso
    Joined:
    Aug 7th, 2022
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    #1205100735

    Y’all are doing too much throwing baseless, racist accusations over subjective preferences (to an A24 movie, mind you) and logical reasoning as to why EEAAO won’t precisely fit in the casual crevice among the Academy line-up of Picture contenders.

    It’s held back by its distributor, known to be very temperamental in award prospects and campaign visibility. It’s an early release that potentially gets lost in the shuffle as we inch closer to Oscar-friendly release dates. It also has a lot of offbeat humor that the white, conservative bloc wouldn’t be too enthused about. An interplay of these factors can work against EEAAO, especially as we consider the inherent interests the Academy typically gravitates towards (Hello Spielberg, Chazelle, and news flash, cinema!).

    For the record, I’m also not a fan of the abovementioned flick. I thought it was conceptually gimmicky that it relied so much on narrative density to stimulate sensory overload rather than redirecting such weight to deeply examine the internal (via historical materialist lens) contradictions that give rise to the Asian-American immigrant identity — one that has been conveniently glossed over by a Pixar-like, overarching message of “family is love” to combat the anxieties of nihilism. As such, its philosophical ramblings fell flat, unidimensional, and, ironically, pointless.

    And from the personal reasons I’ve stated above why, surprisingly, I feel like EEAAO has a chance, lol! I feel like it would carve out a spot for itself as the Pixaresque, BP nominee with its musings about family, perfunctory recourse to identity politics, and high-concept story (the Ratatouille reference in the film was apt).

    While I’m not a fan of Yeoh, I would love for her to be nominated still, regardless of my opinion. Let’s be for real, the Oscars ain’t meritocratic at all; why not nominate overdue, world cinema legends if you can?


    leon375
    Joined:
    Sep 10th, 2013
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    #1205100750

    EEAAO might get a couple of noms bur it aint gonna be this juggernaut y’all think. I personally think it is overrated and michelle yeoh is just good to me. An asian actress that should be nominated is Han yeri from Minari. THis is a cool fun popcorn movie.


    Luca Giliberti
    Joined:
    Jun 23rd, 2017
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    Posts:
    #1205100754

    Translated:

    ‘A Mulher Rei (The Woman King)’ debuts at the TOP of Brazilian cinemas and raises more than R$5 million (~1M US Dollars). The feature film starring Viola Davis surpassed ‘The Orphan 2’ and the re-release of ‘Avatar’. “Brazil, you will always have my heart,” celebrated Davis.


    Mangesh Gaikwad
    Joined:
    Nov 28th, 2016
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    #1205100781

    My Predictions :

    Cate Blanchett – Tar (Winner)

    Ana de Armas – Blonde

    Olivia Colman – Empire of Light 

    Margot Robbie – Babylon

    Jennifer Lawrence – Causeway


    Barbra Please
    Joined:
    Oct 21st, 2018
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    Posts:
    #1205100787

    Darling, just watching Blonde.

    I have no idea what the fuck am I watching.

    I don’t even know how to rate this film.

    But Ana De Armas delivers a brilliant, fearless, and simply flawless performance.

    FOR YOUR CONSIDERATION

    Michelle Yeoh, Everything Everywhere All At Once
    Tang Wei, Decision To Leave
    Rebecca Hall, Resurrection

    James Hong & Jamie Lee Curtis, Everything Everywhere All At Once


    omkarank
    Joined:
    Mar 15th, 2018
    Topics:
    Posts:
    #1205100789

    Cate Blanchett will be unstoppable come award season.

    She has critic support and raves.


    laslo
    Joined:
    Oct 19th, 2021
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    Posts:
    #1205100800

    For the record, I’m also not a fan of the abovementioned flick. I thought it was conceptually gimmicky that it relied so much on narrative density to stimulate sensory overload rather than redirecting such weight to deeply examine the internal (via historical materialist lens) contradictions that give rise to the Asian-American immigrant identity — one that has been conveniently glossed over by a Pixar-like, overarching message of “family is love” to combat the anxieties of nihilism. As such, its philosophical ramblings fell flat, unidimensional, and, ironically, pointless.

    It’s your right to feel anything you want about any movie, but you know that sometimes movies just aspire to be about wide-ranging themes, like love or family. Considering all films that deal with these topics as reductive and Pixar-like is a pretty patronizing look at a subject that permeates every individual’s life. Not every piece of art needs to be utterly tied to some philosophical, social or metaphysical context for their ambitions to be successful within their proposal. The film presents a strong metanarrative that examines the themes of intergenerational/family conflict and that should be reason enough for the film to suffice in its philosophical appetite.
    If you want to examine it philosophically and attach its value to that, the film doesn’t lag behind any modern work. The aversion/stark-contrast of the film to eternal recurrence proposed by Nietzsche is an extremely courageous ambition. To put as an ultimate challenge the ability of an individual, who by the way represents so little in the immensity of the universe that they established with what some call “gimmicks”, to assert the value of their existence and their relationships with others in front of the immense possibilities that exist in everything, everywhere, all at once, is a concept that goes from complex to rudimentary in all its incarnations and does not lose its relevance to human life. But if you disregard all this juncture, the film is still a beautiful and very well done work about love and the experience of a particular family. Calling the film pointless is a very baseless criticism but as I said before, you are entitled to that opinion.

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