Forum Replies Created
February 28, 2021 at 11:03 pm #1204072245
Colman is the only lock for a nom (and how many times did they cut to her genuinely cheering for everybody else; she was very relaxed knowing she wasn’t winning lol)
The rest of the 4 slots are fluid.February 27, 2021 at 10:29 pm #1204065753
It’s 2021 and there are people still trying to argue that Colman’s performance in The Favourite wasn’t regarded as more acclaimed than the rest?
She won twice the number of prizes compared to the next actress on the list who wasn’t even nominated for the Oscar in the end, and this doesn’t even include the European prizes.February 25, 2021 at 12:57 am #1204060240
Seeing more actors catching up on The Father including ^February 24, 2021 at 10:42 pm #1204060128
The Father opens this weekend in select theatres in the US so reviews are finally trickling in.
MC score up a point to 88. Let’s see if this holds to match Minari. Interesting if this becomes a head to head between Colman and Youn.February 7, 2021 at 8:08 pm #1204029679
…. Glenn did campaign but saying she was everywhere sounds hyperbolic. She did Actors on Actors, THR Roundtable, The View, S. Colbert and that’s it. There weren’t Q&As of The Wife here and there like that or numerous Talk Shows’ appearances. Regarding Colman, she had Emma and Rachel doing everything they could and she was backed by one of the biggest campaigner of the game Fox Searchlight Pictures.
That was probably the sole oscars event she attended cause it was in the UK the day before BAFTA. She attended Palm Spring cause it was the same week has the Globes. But that was it? She didn’t even attend the Oscar luncheon class photo thing in LA or SAG or do any US talk shows.
Bit revisionism to say Colman campaigned when lack of a campaign was one of the main reasons people dismissed her chances.
She definitely did have a better distributor though and things are reversed this time with Glenn having Netflix who has cash to burn, and Colman has SPC who seem like they are conserving whatever cash they have as much as possible by sending screeners mostly to voters rather than critics.February 7, 2021 at 12:59 am #1204027867
Wow I remember 2018 differently then – thought Glenn campaigned her ass off: all those roundtables and Globes speech (SPC has good relationship with HFPA apparently), with Pip being at a number of red carpets. A reason why the result was heartbreaking cause she did everything a winner’s campaign required.February 5, 2021 at 8:01 am #1204024809
So basically you want the oppressive old Hollywood system back, but like virtual.
Why am I not surprised that this forum doesn’t lend well to discussion with any nuance.
Ironic when the old Hollywood system was also geared towards throwing talent with prestige together and hoping it works out.February 5, 2021 at 7:33 am #1204024766
Something about the role spoke to Close. I don’t begrudge her taking it on, because she certainly made the most of it. It’s incredibly specious to think she has the luxury of turning down challenging roles like they’re offered to her everyday as some probably are. She worked with Ron Howard before and had the opportunity to work with Amy Adams for the first time. The memoir was a well-known bestseller, whether people like that or not. I’m also guessing that Netflix money was a factor. So Oscar or no Oscar, I think the character work was the main consideration, not the “optics.”
I get wanting to do a film with Amy Adams funded by Netflix about a subject matter that we don’t get to see as much as movies based on either coast. What I cannot understand is Close (and Adams and Howard) in all their years of experience not being able to realise that the script is godawful and needed several more rewrites? I know the writer was behind another recent BP winner, but that’s my gripe with projects blindly gathering folks who had recent prestige without interrogating the material – I feel like that issue is at the core of how Netflix decides to throw money at projects. Mostly just letting known names do whatever they want – which means in some circumstances the talent aren’t pushed hard enough.February 5, 2021 at 12:49 am #1204024313
The Father – just did not expect it to lodge such a weight in me for days after. Can’t wait to rewatch it again for the technical aspects. Really would be such a deserving editing nom. Absolutely seamless and serves the story to just break you. Also 2 thespians in Hopkins and Colman combining to deliver some of the best work of the year.
Also Minari and Nomadland for the beauty and emotions they found in their stories. But The Father was really a surprise.February 4, 2021 at 9:38 pm #1204024104
The way people are crying about supposed Close haters here (a negligible number, most migrated to discord anyway lmao) when she is literally beloved- the hate is for her hammy performance in a garbage movie that is taking space that could have gone to a worthier contender. Meanwhile y’all have no trouble trashing Colman- but girl is happy I’m sure. 3/3 Globes and 1/1 Oscar wins and now a second nom already. Olivia stays winning.
Exactly. Colman is also always the least thirsty – doesn’t do roundtables, doesn’t do much press, no social media. She just picks right projects with strong writing/ cast, delivers consistently good to great performances and goes home. I can see a lot of her peers respecting that aspect of her.
The language and tone of some comments about Colman on here makes you think she’s gladhanding everybody and their dog when the fact is she hasn’t been seen in public or campaigning since mid Dec.
And yet her peers still vote for her. Hopefully she’s setting an example that the industry would be better off if it didn’t spend so much money and time chasing these things, and instead invest those resources in producing good work.
Anyway The Father’s resurgence on televised awards makes me hopeful SPC is being super strategic on how they target voters and maximise the rollout of the film. It’s released right during voting season with VOD end March. I think there’s a chance it could have the right momentum during Oscar voting period.February 4, 2021 at 6:24 pm #1204023752
And, as I’ve said before, Colman has neither the legendary status of Daniel Day Lewis and Christoph Waltz
Lmao. Coincidentally Waltz was in the Venice jury that awarded Colman her Volpi Cup.
And anyway since when has AMPAS given a crap about legendary status. They vote for who they love.
I’m not predicting a Colman win cause she won’t be campaigning but the threatened vibes from some posts here after how she’s likely cruising to a second nom is hilarious.February 4, 2021 at 6:16 pm #1204023725
After so many doubters for months, Olivia Colman ends the week with 2 more globe noms and 3 more sag noms making it:
5 globe noms in 5 years and SEVEN (7) sag noms in 3 years.
Phew a Queen.
(She’s unlikely to do much press though – didn’t do any for The Crown and has not surfaced for The Father since mid Dec. So congrats Bakalova?)February 3, 2021 at 6:27 am #1204016543
The Father getting resurrected so freaking deserved!!!February 1, 2021 at 3:06 am #1204012016
The Father getting 6 noms including Director and Editing. Please be a sign it gets revived in the industry awards, starting with Globes.December 31, 2020 at 7:43 pm #1203955800
« Easily » when she’s struggling to get mentions from critics awards lol, allow me to doubt! Even BIFA snubbed her despite the film getting like 6 nominations… It’s time to reevaluate her position in this race.
Critics awarded her just 2 years ago, and this year are pushing Bakalova and Youn, who each have obstacles to even get the nomination with a voting body like AMPAS. Also for all the talk of her “struggling” with critics, she’s ranked just behind Seyfried and the two above: https://www.metacritic.com/feature/film-awards-and-nominations-scorecard
The Father is also very underseen among critics. Based on Letterboxd it’s only during this holiday break that there are a ton more critics who have finally gotten round to their screener as there has been a sudden spike in ratings logged by critics – and the reaction is great to the film and both Hopkins and Colman; it’s still holding steady at 4.1/5.
I have doubts about SPC too but for me, Colman definitely deserves a nomination based on performance alone. It’s a restrained but still very emotive performance and very different from her Oscar winning one. Her character can’t do histrionics or have loud “look at me” scenes but I felt the full weight of her grief and conflict – in fact I thought she elevated the role immensely beyond what is a traditional ‘supporting daughter’ role in the page and brought a lot of empathy to the film. Her chemistry with Hopkins is very natural and one of my favourite parts of the film – wanted more scenes of them acting off each other.