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https://twitter.com/mavericksmovies/status/1422209976391569410?s=20
About Don’t look up and how divisive it might be.I agree with one of the comments below, “Why do people read leaked scripts”? I understand some want to be ahead of the curve. But then don’t go online & spoil the story for others who want to be surprised.
Star power doesn’t equal good movie you can ask Kidman, Robbie, and Theron that for Bombshell.
Yeah I agree, I was just really confused about the whole point of the “if they were in this how much buzz would it have” post lol
FYC:
Everything Everywhere All At Once
The Banshees of Inisherin
Women Talking
All the Beauty and the Bloodshed
Joyland
RRR
AftersunAs it currently stands, “Blonde” would absolutely get an NC-17 rating. Netflix was absolutely horrified by the cut Dominik submitted to them. They want a new version of the film, Dominik doesn’t. The cut Netflix saw caught them completely off-guard. They were under the impression that this was an Oscar player when, in fact, it was this vague, obtuse arthouse film. Not sure what they expected from Dominik.
World of Reel posted about Blonde, and then the link was removed.The World of Reel posted it and then removed it.
I guess The Tragedy of MacBeth could end up having mixed reactions too. I have had this feeling that it will be too arthouse since Carter Burwell said the movie takes place in a “psychological reality”.
I think The Tragedy of Macbeth can get away with being too arthouse on the basis that it has such a respected pedigree (like Mank) behind it. But yikes about Blonde!
FYC: Better Call Saul, The English and The Good Fight in all categories including Emily Blunt, Bob Odenkirk, Christine Baranski and Rhea Seehorn.
I think The Tragedy of Macbeth can get away with being too arthouse on the basis that it has such a respected pedigree (like Mank) behind it. But yikes about Blonde!
While I agree that Mank is the ceiling for this film, the fact that this is apparently a “psychological reality” gives me major red flags. Almost like what David Lynch would make if he were given a Shakespeare project. I love David Lynch and the Coens, but the Coens already being kinda hit or miss with the Academy and not being fans of Lynchian styles (Directors’ branch aside of course) doesn’t exactly smell like good news
FYC
Everything Everywhere All at Once for everything, everywhere, all at onceI think The Tragedy of Macbeth can get away with being too arthouse on the basis that it has such a respected pedigree (like Mank) behind it. But yikes about Blonde!
I remember Dominik once saying in an interview Blonde was like a “fairytale.” I wonder what the reason was for delaying it. The Cannes festival director said he saw it, so it’s obviously finished. Netflix is known for giving their talent creative freedom, so the rumors of Dominik fighting for a final cut are strange.
While I agree that Mank is the ceiling for this film, the fact that this is apparently a “psychological reality” gives me major red flags. Almost like what David Lynch would make if he were given a Shakespeare project. I love David Lynch and the Coens, but the Coens already being kinda hit or miss with the Academy and not being fans of Lynchian styles (Directors’ branch aside of course) doesn’t exactly smell like good news
Yeah, the Academy hasn’t really had much trouble snubbing Coen brothers’ movies outright, regardless of the talent involved. Burn After Reading Is a great dark comedy, but not enough of a “drama” to make it acceptable despite having the likes of Brad Pitt & McDormand?
I still think the larger issue will be that no matter how innovative, it’s really hard for me to care about Macbeth. I can and maybe will immensely appreciate it as an innovative experiment, maybe even a highly successful one, but I just don’t have the emotional fealty to the material that pretty much any adaptation needs in order to do well. Masterful technical films can get acting nods and so maybe Washington & McDormand will be A-OK for nods but BP/Director/acting wins are hard to see in that scenario.
FYC:
Everything Everywhere All At Once
The Banshees of Inisherin
Women Talking
All the Beauty and the Bloodshed
Joyland
RRR
Aftersun
This post was found to be inappropriate by the moderators and has been removed.Now that we know Blonde wasn’t rejected by Venice but pulled by Netflix in the battle for final cut, I have a feeling there has to be more to the story behind The Tragedy of Macbeth as well—one that maybe doesn’t have anything to do with its quality. Not because TTOM can’t be bad, but because Venice really has no compunction with premiering bad films. I don’t know obviously, it may be because it’s bad but the Blonde news gives us reason to think there’s more to the story.
FYC:
Everything Everywhere All At Once
The Banshees of Inisherin
Women Talking
All the Beauty and the Bloodshed
Joyland
RRR
AftersunNow that we know Blonde wasn’t rejected by Venice but pulled by Netflix in the battle for final cut, I have a feeling there has to be more to the story behind The Tragedy of Macbeth as well—one that maybe doesn’t have anything to do with its quality. Not because TTOM can’t be bad, but because Venice really has no compunction with premiering bad films. I don’t know obviously, it may be because it’s bad but the Blonde news gives us reason to think there’s more to the story.
The guy who posted about Macbeth is extremely credible and never claimed that Blonde had been rejected, just that it wasn’t going. A lot of people made the assumption but it was never part of what was said.
A Venice slot is a much bigger deal (even OOC) than opening NYFF. The film is finished. Coen has a strong history with Venice. If it had gotten in, it would be going IMO.
Now that we know Blonde wasn’t rejected by Venice but pulled by Netflix in the battle for final cut, I have a feeling there has to be more to the story behind The Tragedy of Macbeth as well—one that maybe doesn’t have anything to do with its quality. Not because TTOM can’t be bad, but because Venice really has no compunction with premiering bad films. I don’t know obviously, it may be because it’s bad but the Blonde news gives us reason to think there’s more to the story.
Actually, the same guy outright said that Macbeth was rejected by Venice.
The Story behind Macbeth and Venice is interesting because if they think its bad, Several mediocre-to-bad films like The Laundromat had also premiered there. Its weird.
Could it mean that Coen/A24/Apple wanted In Competition Screening but Venice rejected IC Screening but allowed Out of Competition Screening yet They opted to not going to Venice at all??
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 JenkinsThe Story behind Macbeth and Venice is interesting because if they think its bad, Several mediocre-to-bad films like The Laundromat had also premiered there. Its weird. Could it mean that Coen/A24/Apple wanted In Competition Screening but Venice rejected IC Screening but allowed Out of Competition Screening yet They opted to not going to Venice at all??
If they did that they shot themselves in the foot because OOC Venice is a way better premiere slot than opening NYFF.
If they did that they shot themselves in the foot because OOC Venice is a way better premiere slot than opening NYFF.
Does that OOC Venice premiere slot apply to Macbeth only, or just in general? And why is it better than opening NYFF?
The Story behind Macbeth and Venice is interesting because if they think its bad, Several mediocre-to-bad films like The Laundromat had also premiered there. Its weird. Could it mean that Coen/A24/Apple wanted In Competition Screening but Venice rejected IC Screening but allowed Out of Competition Screening yet They opted to not going to Venice at all??
Yeah this is the aspect I don’t get. Unless it’s atrocious, there must be at least something else to it than quality. Festivals accept poorly received films quite often. In the OOC slot at Venice 2019 you had The King, The Burnt Orange Heresy and Seberg, all of which received muted reviews and have long been forgotten about. 2018 had quite a few divisive films on that slate and Driven in OOC that was pretty poorly received. Not that I’m ruling out that Macbeth is somehow even worse than that (baffling as it would be given the talent involved), but it feels like there’s something more to it at least. I know they can’t base it on much more than the organiser’s response to the film but I do find it hard to believe they’d reject a Coen-McDormand-Washington-Shakespeare film even if it wasn’t that great.
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