-
-
I am so nervous that once we get down to televised awards, the Globes will make this Fabelmans vs Banshees and it’s off to the races. Super nervous. This can’t win over EEAAO or Banshees. It just can’t! Like you said, this was even lesser than Belfast, and that’s saying a lot.
If it doesn’t win the GG for screenplay in globes it is done it ain’t winning wga and BAFTA
Hoping tar wins globe drama lol
The thought of this winning over Banshees of Inisherin and EEAAO in Original Screenplay is terrifying. We might be safe because I think WGA and BAFTA will reject it there. As for the Globes well let’s pray
Nah it won’t wga and BAFTA if green book couldn’t
So, I saw The Fabelmans last night and I figured I’d share my thoughts. I have to say I’m sorely disappointed — and it was one of my most anticipated films of the year. I mean, a magnum opus by one of the greatest living directors? A coming-of-age story? About filmmaking and Hollywood? With Paul Dano and Michelle Williams? I mean, I’m basically the target audience for that kind of premise. I saw others comparing it to Belfast, which I loved dearly. I was very excited…
But, I just could not connect with the characters at all. The film felt like a pastiche of opaque childhood memories, stitched together into a patchwork quilt which offered no color or resonance besides “dysfunctional family things”.
Granted, there were some moments I enjoyed, namely where Sammy is crafting his own films with his friends (which supposedly were copied shot-for-shot from the real films Spielberg made as a child, which is incredibly interesting). But, The Fabelmans doesn’t nearly focus enough on that — filmmaking. I wanted to see more about his movie escapades, and much less about Sammy’s mother’s psychological breakdown.
I guess that’s where I think the film’s biggest faults lie: the screenplay. The beginning of the film danced trepidatiously on the line of cheesy sit-com, only to transition to an enigmatic and emotionally-bereft second half, with not much in between. The end scene with “that person” could have packed more emotional resonance if it somehow related more to themes of what came before, though I really did enjoy the irony of that final-final shot.
The cinematography was excellent (some of the best this year), and I enjoyed Dano’s performance, but I thought William’s acting was way too over-the-top, so much so it felt incredibly fake (it didn’t help any that it was coupled with a bad wig and candy-colored lip gloss). Now, I see others singing the film’s praises, and I respect their opinion. They’ve probably read into the emotional beats and are more taken by the story, but as for me I found it depressing, mostly message-less, and just downright uninteresting.
I doubt that it will win Best Picture.
My username is an acronym of “Quiet On Set! Lights, Camera, Action.” 🎥
This post was found to be inappropriate by the moderators and has been removed.The way so many of us do NOT like Fabelmans
And it’s not like we were rooting against it. I think many of us wanted this to be the epic semi autobiographical masterpiece that we thought we were being served, and it simply just wasn’t. It really wasn’t. I’d be all about this winning if it were worthy. I legit don’t even think it’s worthy of winning director, for sure not screenplay, for sure not actress, and most importantly, not picture.
The thing he is probably gonna win director since the Daniels and mcdonagh will win in screenplay and in prefential ballot era only parasite and birdman won director and screenplay and they had co writers with them.svg” class=”emoji”
This post was found to be inappropriate by the moderators and has been removed.I mean, The Fabelmans only has an 81 percent audience rating on Rotten Tomatoes. The way I can name at least 30 movies from this year with higher ratings.
I will laugh if women talking ends up having better audiances score than the Fabelmans
So, I saw The Fabelmans last night and I figured I’d share my thoughts. I have to say I’m sorely disappointed — and it was one of my most anticipated films of the year. I mean, a magnum opus by one of the greatest living directors? A coming-of-age story? About filmmaking and Hollywood? With Paul Dano and Michelle Williams? I mean, I’m basically the target audience for that kind of premise. I saw others comparing it to Belfast, which I loved dearly. I was very excited… But, I just could not connect with the characters at all. The film felt like a pastiche of opaque childhood memories, stitched together into a patchwork quilt which offered no color or resonance besides “dysfunctional family things”. Granted, there were some moments I enjoyed, namely where Sammy is crafting his own films with his friends (which supposedly were copied shot-for-shot from the real films Spielberg made as a child, which is incredibly interesting). But, The Fabelmans doesn’t nearly focus enough on that — filmmaking. I wanted to see more about his movie escapades, and much less about Sammy’s mother’s psychological breakdown. I guess that’s where I think the film’s biggest faults lie: the screenplay. The beginning of the film danced trepidatiously on the line of cheesy sit-com, only to transition to an enigmatic and emotionally-bereft second half, with not much in between. The end scene with “that person” could have packed more emotional resonance if it somehow related more to themes of what came before, though I really did enjoy the irony of that final-final shot. The cinematography was excellent (some of the best this year), and I enjoyed Dano’s performance, but I thought William’s acting was way too over-the-top, so much so it felt incredibly fake (it didn’t help any that it was coupled with a bad wig and candy-colored lip gloss). Now, I see others singing the film’s praises, and I respect their opinion. They’ve probably read into the emotional beats and are more taken by the story, but as for me I found it depressing, mostly message-less, and just downright uninteresting. I doubt that it will win Best Picture.
Its nice to hear your thoughts because sometimes it is an echo chamber of film twitter like opinions in here, but seeing how you’ve enjoyed belfast but found the fablemans to be disappointing should reflect a lot of other peoples thoughts regarding those who loved belfast. Interestingly enough, the fablemans has a lower rotten tomatoes audience score than belfast.
Michelle (Yeoh, Williams) Oscar campaign manager.
FYC:
Best Picture: Banshees of Inisherin, Everything Everywhere All At Once, Decision to Leave
Best Director: Park Chan-Wook Todd Field
Best Original Screenplay: Banshees of Inisherin, Everything Everywhere All At Once
Best Actor: Colin Farrell
Best Actress: Michelle Yeoh, Cate Blanchett, Tang Wei
Best Supporting Actor: Brendan Gleeson, Ke Huy Quan
Best Supporting Actress: Kerry Condon, Nina Hoss
This post was found to be inappropriate by the moderators and has been removed.Dropped Park Chan for Cameron and I’m dropping Sarah Polley for McDonagh. I’m convinced Sarah will show up in Screenplay, and likely win.
However, I’m not convinced Women Talking is as strong as many think. Many think it’s top 3 win competitive, and maybe that will change in the few weeks to come, but for now I say Sarah misses out on a Director nomination and that Women Talking ends up in the bottom 5.
Agree on everything and yeah, I just put Cameron in.
I don’t see this winning Best Picture at all unless the Academy is really this self-congratulatory. There’s no rooting factor and it’s not as feel good as Green Book. It exists in a vacuum. But who knows Birdman won years ago, but the academy has changed what Best Picture winner is recently.
Birdman can still easily win now, at least in these past 2 years.
This post was found to be inappropriate by the moderators and has been removed.The Fabelmans only scored Director and Picture nominations, while Babylon got Score, Production Design, Cinematography, Costume Design, and Editing and STILL missed all acting categories and missed both in Picture and Director. I can totally see a similar trajectory with Babylon at the Oscars.
Dune’s performance last year feels kind of instructive for how Babylon could perform. It’s still a bit mystifying to me that Villaneuve missed and IMO it seems like it’s even easier to give Babylon its just due BTL nods and stop there. Some people were already predicting it, but it seems like that Original Screenplay nom is slipping away.
On the flip side, I’m taking for granted that The Fablemans will do well BTL, but depending on passion I could see it missing in a few categories like Costumes and Production Design.
My December predictions for best director:
1. Steven Spielberg (The Fabelmans)
2. The Daniels (Everything Everywhere All At Once)
3. Todd Field (TÁR)
4. Damien Chazelle (Babylon)
5. James Cameron (Avatar: The Way of Water)
No women, I know. But I’m not really feeling a Sarah Polley nom tbh.
And my December best picture predictions:
1. The Fabelmans
2. The Banshees of Inisherin
3. Top Gun: Maverick
4. Everything Everywhere All At Once
5. TÁR
6. Women Talking
7. Babylon
8. Avatar: The Way of Water
9. She Said
10. Elvis
I want to put Decision to Leave so badly but -as of right now- I don’t see it happening.
Yo, why is The Fableman’s still #1 on Golderby to win? Do people actually think its going to win BP? 🤣
The topic ‘2023 Oscars: Best Picture and Director (Part 7)’ is closed to new replies.
