[schmids Joined: Oct 10th, 2020 Topics: 0 Posts: 877 View Predictions]

#1204446326

LA26 wrote:

A 30 second teaser for The Last Duel was just released: https://m.youtube.com/watch?v=QTBSb0i09kI

Jodie Comer is Lead.

[schmids Joined: Oct 10th, 2020 Topics: 0 Posts: 877 View Predictions]

#1204445705

crabbie wrote:

Dead thread until The Humans premieres at TIFF on September 12 and then we will have a race in our hands. Interesting how Matt Neglia and Matt Jacobs have seen the film already. On Letterboxd the most recent submission is a 5 star rating, but with no review though.

Yeah this thread feels empty because a lot of the potential nominees haven’t been seen yet – The Humans, House of Gucci, Nightmare Alley, Macbeth, The Last Duel if anyone there is going Supporting. Once those movies are seen it will shape up some.

 

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#1204445697

kbc wrote:

Apropos of A24, can anyone recall a past awards season in which a significant distributor has kept its entire Oscar-targeted slate of films in the “release TBD” category for so long? I recall some studios that had one, maybe two, they were still looking to either lock in for the current season — or push forward to the next year — at this point, but not many examples readily spring to mind. I had thought with C’mon C’mon‘s trailer drop, we might get some updates on this front, but none so far, at least according to A24’s website: C’mon C’mon – TBD Red Rocket – TBD The Tragedy of Macbeth – TBD The Humans – TBD

Yeah that’s crazy that no release dates are confirmed. We can assume they’re all coming out this season but when? December?

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#1204445040

wolfali wrote:

I disagree. Isn’t it Searchlight’s only “big” film coming out in 2022?

Maybe at the minute. But there will be others.

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#1204445004

Richie Rich wrote:

I know this is a 2022 Oscar thread. But I just wanted to have a bit of fun and Guage the 2023 race. As of right now these are my predictions. Thoughts?

Next Goal Wins will probably get dumped. I doubt the Wes Anderson will be ready. Baumbach will probably make an appearance. Batman and Lightyear feel unlikely at this point.

Also Poor Things has started.

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#1204444987

fefface wrote:

I had been wondering about this. Interesting that it’s confirmed and surely (again, provided it doesn’t just get trashed on release because of the subject matter) makes it an interesting proposition in acting categories too. Intrigued how they’ll keep it moving though.

Definitely an acting ‘gimmick’ as well as a writing one – but will it just look like the scene is being repeated, or will the actors be up to making it different enough even if the dialogue is exactly the same? Otherwise it’ll probably be kinda boring – but it could be riveting if done well, and Driver/Comer have some of the best microexpressions of actors currently working IMO.

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#1204444944

wolfali wrote:

I mean… the jury didn’t nominate Viola Davis last year and there weren’t any bad optics with 16/24 of the acting nominees being people of colour. If Smith gets snubbed there with another strong poc acting nominations haul, chances are there aren’t going to be any bad optics.

That is true – but it’s not just about who gets nominated, its about who wins. In majority POC Lead categories last year they still ended up with a pair of white winners.

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#1204444938

Richie Rich wrote:

I’m noting this post. So in February you will eat your words. Dune and WSS missing for sure? Hater much. Lol.

Note away. I’m not a ‘hater’. I just have an opinion that, shocker, differs from yours.

And it’s arrogant for me to say ‘for sure’ but fine for you to say ‘The Lost Daughter and Passing ain’t getting shit’? OK.

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#1204444936

crabbie wrote:

The three POV storytelling is really compelling in terms of screenwriting. If the writers pull it off, I think this will be The Power of the Dog’s challenger in Adapted.

And Comer has already confirmed to Variety that some scenes appear twice, with the same dialogue, played differently.

Also Nicole Holofcener should have won already, though that said I doubt AMPAS is chomping to give Affleck/Damon a second writing Oscar. That would be 2/2 for them as a writing team.

 

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#1204444901

gorman wrote:

Struggling with Adapted after the first three. It’s a stacked category but stacked with films I can’t quite see getting the nod like Dune, WSS, Last Duel and Gucci. I think one of Passing and Lost Daughter will make it though, they seem more ‘writers’ branchy’ than those I just listed and Netflix will be campaigning them pretty hard here you’d think.

Dune and WSS will miss for sure. Duel is an interesting proposition as it has a scripting ‘gimmick’ as it were that, if it has been done well, could go down a storm with the writers branch (I have it as an outside shot in Editing for a similar reason). It also has a strong screenwriting pedigree of big names.

Gucci… we’ll see. Less confident in it than I was at first. Macbeth also feels like a ‘meh’. Daughter and Passing could definitely make it.

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#1204444882

Shrek Superslam wrote:

Why does he look like a pimp?

I’m all for a ‘fun’ photo shoot but he looks absolutely ridiculous.

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#1204444198

wolfali wrote:

Thanks for the heads up! I was just about to open it lol.

You’re welcome!

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[schmids Joined: Oct 10th, 2020 Topics: 0 Posts: 877 View Predictions]

#1204444120

OMG that trailer is spoilery. Avoid like the plague @wolfali!

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#1204442967

kaziz wrote:

Yeah fair enough. I think some critics have given the impression that it’s gonna be REALLY controversial for people who LOVE the royal family, and people who are obsessed with it. But I think wolfali mentioned that it’s getting a much warmer reception from British critics than suspected, and also—I think it’s possibly those critics were overstating the “controversy”. As a story about Diana (and since the queen apparently doesn’t say a single word), it might not be as controversial? I dunno, I am neither British nor a royalist, & I’ll probably love it anyway, so I guess we’ll see. I dunno, I thought it was worth floating because it is pretty highly received as a film, much more than expected! This controversy thing is, I feel, just overstated all around. So many films are being labeled this way, and as it turns out Belfast and King Richard are basically just as popular/unpopular. Just thru scores, The Hand of God, C’mon C’mon & (unsurprisingly) Dune feel the most “liked”, but LB scores are a very strange barometer I have to say. This is the thing about “controversial”—critics and pundits say it, but it’s condescending & then they’re all when audiences like controversial films (audiences have LONG loved controversial films!) If it’s slow, okay fine, smaller audience, I get that. But no one’s OFFENDED by these films, they either think they’re slow or they’re into em. That’s it!

I wasn’t specifically referring to controversy? I’ve added a quote from the article to my original comment. It’s about the industry not liking the film as much as critics do, for whatever reason that might be, and that the industry may not be receiving it as well ‘as a film’ as critics are.

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#1204442944

kaziz wrote:

I was just floating Spencer as a possibility because my mind is drifting there. It does have a LOT of passion! Which is…honestly…I have no clue! But I thought it worth it to bring up because people love talking about it Also guys, let’s not take LB THAT seriously. Take what people say more seriously

I think the thing that is giving a lot of people pause is that there are reports from festivals that the critical response for Spencer is a lot more enthusiastic than the industry response.

Like this report from Vanity Fair as an example.

Quote: ‘I gotta say, I detected some of that same sense of anticlimax when our screening of Spencer concluded. The applause was tepid, the energy subdued. I wonder if that movie is destined to be adored by those predisposed to loving it, but rejected or maybe just ignored by everyone else. Neon might have to be a bit more aggressive in their campaigning than originally planned. That’s my hunch, anyway’