#that the movie got nominated for best picture and best screenplay and best supporting actor but not director… | Explore Tumblr Posts and Blogs

potatotalksculture · 2 months

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Potato Tweet: Barbie has already been robbed during the nominations. Now it’s been robbed even more.

I assume it’s common knowledge by now that Oscars are not about art, at least not in the first place. So when I look at the politics of the awarded, I worry. Oppenheimer is good, no questions asked. What I worry about is the politics of not giving an Oscar to Killers of the Flower Moon at all. Through that the Academy kind of admits that it doesn’t care about Native Americans and their story. They care about Mariupol, but doesn't one dare talk about Gaza. They care about gazing at women much less than about taking a quick, light-hearted look at their psyche. That’s sad and irritating.

What increases my discontent is the amount of statuettes Poor Things has left the ceremony with. And I’m not gonna moralize about the sexuality of a child, I’m not a Victorian lady… I’m rather wondering about all the similarities between Yorgos Lanthimos’ film and Greta Gerwing’s film. Both staring a well known woman, who’s also a co-producer of the respective piece. The protagonist of each film is what seems to be a grown ass lady, who differs from the common understanding of “normal” and “suited for a society” in one way or other. Both Barbie and Poor Things are visually stunning.

The categories in which both films were nominated are:

best picture

supporting actor (where it was kind of obvious it’s gonna be Robert Downey Jr., but I was holding onto the glimmer of hope it’s gonna be Ryan Gosling, so that the Academy can say “Hey, we awarded this pink movie something! Sure, it’s for the male supporting role in a very feminine movie, but we awarded it something!)

adapted screenplay

costume design

production design

The only two categories in which Barbie was nominated and Poor Things wasn’t, are:

actress in a supporting role

original song (with “What Was I Made For?” and “I’m Just Ken”)

Which scores it the total of 8 nominations in 7 categories.

Meanwhile Poor Things scored 11 nominations all together. It was nominated, except for the already mentioned, for:

actress in a leading role

cinematography

directing

editing

makeup and hairstyling

original score

For some perspectve: Oppenheimer got nominated in 13 categories.

What I'm trying to say here, is that it was understandable for me that Barbie got robbed cuz it's too entertaining, too pink, too commercial for the Academy. It wasn't the greatest production of the year. But it was an event! And just because of that it's already earned a very special place in the cultural history of the western world. I'd be interested to know how much of the commercial success of Oppenheimer was carried by Barbie and the other way around. The double-feature-premiere was a worldwide event of a scale of its own. Meanwhile Poor Things showed up rather late to the party. It's not a multiplex film. It's a Mubi film. It's artsy. It's different. It's also a story about women's sexuality written and directed by a dude, based on a novel by a dude. And the Academy likes it more than a story by women for women about what it's like to be a women, which also allows it to prove how much they care about Art. AKA how pretentious they are. That's my beef.

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dean-winchesters-clit · 2 years

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With the release of the Little Mermaid (2023) trailer, I want to tell you all about the gay man who saved Disney

After the death of Walt Disney in 1966 and Roy Disney in 1971, the Disney Animation Studio floundered for over a decade and a half. The movies released following the Disneys’ deaths did not do well at the box office or with critics, and the company began losing money quickly. It didn’t help that during the production of The Fox and The Hound, Don Bluth along with a bunch of other Disney animators left the company to start their own animation studio.

After The Fox and The Hound released in 1981, Michael Eisner (best known as the inspiration for Lord Farquad) took over after Walt Disney’s nephew resigned as CEO. Michael Eisner came into the company with the sentiment that they “had no obligation to make art”, and released The Black Cauldron in 1985 to critical and commercial failure. The company hit rock bottom and in response, Eisner moved the animation studio out of the buildings that were DESIGNED FOR ANIMATORS TO ANIMATE IN and into various hangers, warehouses, and trailers. Eisner was about to get rid of the animation studio for good until Walt Disney’s nephew intervened. Thanks to the mild success of The Great Mouse Detective and Oliver and Company, Eisner gave the animation studio another chance.

That’s where our man comes in.

Howard Ashman was born in Baltimore, Maryland in May of 1950. He and Alan Menken (the composer for many many many Disney films) collaborated on The Little Shop of Horrors. Ashman was the lyricists, librettist, and director of the project while Menken wrote the music. They were nominated for a Grammy Award and Ashman received a Drama Desk Award for Outstanding Lyrics. Ashman then wrote the screenplay for the Frank Oz film adaptation of the musical.

Ashman was brought in to Disney to write a song for Oliver and Company. While there, he was told about several projects the animation studio had on the back burner, one of which was The Little Mermaid.

Ashman became a driving force behind the creation of The Little Mermaid and subsequently, all of the Disney films made between 1989 and 1999. He explained to the animation team how musical theater and animated films were made for each other, and how they had the exact same amount of suspension of disbelief for audiences, which made them a perfect substitute for live action movie musicals which had gone out of fashion after the 1960s.

Ashman wrote all the lyrics to the songs in The Little Mermaid and insisted that Alan Menken be brought on to write the score and music. It was Menken’s first ever movie score and he fucking nailed it. Ashman was the one who insisted on bringing on actors who had musical theater backgrounds. He also insisted that Sebastian the crab be Jamaican so he could include Caribbean inspired music and have an “up” number during the movie. He explained to the writers how musicals were structured, where to include songs, and how those song would weave themselves into the story and feel natural. Ashman was credited as a producer on the film, which was released in 1989 to ENORMOUS SUCCESS. Ashman then went on to write the lyrics to the songs in Beauty and the Beast and three songs from Aladdin, the latter of which he pitched to Disney as an animated musical and wrote a treatment for.

After the release of The Little Mermaid, Ashman revealed to Menken that he had tested positive for HIV/AIDs. Jeffery Katzenburg, the then animation director at Disney, fully supported Ashman during the making of Beauty and the Beast, even creating a studio near his home in New York so he could work easier while receiving treatment. He got to see a private early screening of Beauty and the Beast before he lost his eyesight. He died of heart failure seven months before the film was released in November of 1991.

Beauty and the Beast received a standing ovation at its premiere and was the first and only animated movie to be nominated for Best Picture at the Oscars, a decade before the Best Animated Feature category was added. The film is dedicated to Howard Ashman, a message at the end of the film reading, "To our friend Howard, who gave a mermaid her voice and a beast his soul, we will be forever grateful.“ Beauty and the Beast won for Best Original Song at the Oscars, the award presented to Alan Menken and Howard Ashman. Ashman’s partner Bill Lauch accepted the posthumous award for Ashman, making it clear to the audience that he and Howard were a couple and loved each other. Disney was furious that Lauch had said those things during his acceptance speech.

Following Ashman’s death, the 2002 special DVD release of Beauty and the Beast added the song “Human Again” which Ashman and Menken wrote but was cut from the original film. The DVD also featured a special short called Howard Ashman: In Memorium. It features many people from the animation studio talking about Ashman and his invaluable contributions to the films he worked on. Jeffery Katzenburg said that there were two angels watching over them during his days at Disney: Walt Disney himself, and Howard Ashman.

If it weren’t for Howard Ashman, a gay man who died of AIDs in 1991, Disney would not be what it is today. They would have continued to flounder and eventually have gone under. Ashman brought Disney back to life and gave us unforgettable films and inspired countless others. He was the backbone of the Disney Renaissance, creator of the formula that these films followed and allowed them to succeed where previous films hadn’t.

And the modern Disney Corporation refuses to acknowledge his existence. While doing research for this post, I found a documentary on Disney+ about Howard Ashman. It has a one minute long trailer on the Disney+ YouTube account and that’s it. There’s no other marketing for this documentary, no one posting about it, NOTHING. It came out in 2018. FOUR YEARS AND NO ONE KNOWS IT EXISTS. Disney has been erasing the existence of queer people in their history and continue to profit off of the work that queer people did to keep their company afloat. The Beauty and the Beast remake was the first Disney movie to make over a billion dollars and in doing so, they butchered the work of a dying gay man who didn’t even get to see the finished film he worked so hard on.

So, as you make art and gif posts about The Little Mermaid (2023) as more and more trailers and promotional material come out for it, remember Howard Ashman. Remember the man who gave many of us our childhoods, who gave a mermaid her voice and a beast his soul.

Rest in peace, Howard.

Here is a video the goes more in depth about Howard’s contributions to Disney and the history surrounding the importance of The Little Mermaid:

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listen-to-the-inner-walrus · 3 months

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...wait, people are genuinely upset that greta gerwig didnt get nominated for best director for the toy commercial movie when the movie got nominations for best supporting actor, best supporting actress, best original song, best production design, best costume design, best picture, and best adapted screenplay for which greta gerwig was nominated?

#kai rambles #im sorry #im just like so annoyed at all the #''movie about feminism and patriarchy made by women has oscar nom go to ken'' reactions #as if no women were nominated at all?????#america ferrera was nominated #billie eilish was nominated #margot robbie was nominated as part of the best picture nom #greta gerwig was fucking nominated #like im sorry but this is like the white feminist version of a moral panic #also justine triet was nominated for best director for anatomy of a fall but i guess yall dont care about films in different languages #also lily gladstone got a best actress nomination becoming the first native american to nominated for an oscar #nimona got a best animated feature film nomination #in general we're seeing more non-english language films get nominations which goes a long way in convincing the general public in the #angliaphere to actually engage with media outside of it #*anglosphere #i just #your babys first feminism toy commercial not sweeping every category is a non-issue #and these reactions are so fucking embarrassing #like im sorry but the toy commercial movie happens to also have a lot of issues with white feminism #and a lot lf native americans have spoken out about it being outright hostile to them #its not a perfect film and its not being snubbed by the patriarchy #it just happens to be that there are other films that came out which were better

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dweemeister · 3 months

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96th Academy Awards nominations reactions

Well, it wasn't doomsday. But it wasn't the best Oscar nomination morning I've ever experienced either!

And goodness me, the two major Best Picture contenders that have the most upwards momentum right now (Oppenheimer doesn't have upwards momentum, it's been top of the pack for the whole awards season) did well. And it just so happens, those two films are the ones I'm the most terrified to criticize.

Some thoughts:

From some of the talk going around and the lack of love from outside the United States, I'm a little concerned with Killers of the Flower Moon as it stands. It's my personal pick for Best Picture, jsyk. Ten nominations sure, but missing out on Adapted Screenplay and Best Actor for DiCaprio is not a good look, despite the surprise Original Song nomination. Certainly, AMPAS is majority/plurality American, so the story strikes deep chords for any of us who care a smidgen about the nation's history and racial injustice. But I have been seeing chatter - not gonna name nationalities - from outside North America saying how they're tired of American racial guilt movies. That is an aspect of KOTFM, but that completely flattens a morally complicated, beautifully made work. A near-miracle it was made in 2020s Hollywood. I think another part of it is that we are all now taking the Scorsese and Spielberg generation of filmmakers for granted. They've come full circle. Their films have done wretchedly at recent Academy Awards ceremonies as of late, and undeservedly so.

The (imo) overperformance of Poor Things makes the Gladstone v Stone matchup look like it may be slowly tipping away from Lily Gladstone. I don't think I will be writing on the film on this blog but, suffice it to say, I didn't enjoy it. Yorgos Lanthimos is a director that has never truly clicked with me, largely due to his earlier, very cynical work. Poor Things is not as cynical, but I didn't care for the messaging at all (yes, Victorian men were sexual hypocrites and miscreants - how self-congratulatory, I found it) or its sense of humor. I guess some can say that I'm just another puritanical American prude, as well. But I thought the sex was getting into the male gaze-y territory, and the sex work subplot was way waaayyy too sanitized. I also despised the atonal score by Jerskin Fendrix, which was very close to stuff me and my orchestra mates might do if we were messing around in rehearsal (disclosure: I was taught classical piano and violin, have studied music theory up to the college level, played in various orchestras up to a decent level in high school, and am a massive film score fan).

It looks like Oppenheimer is running away with this. I just don't see how anything can stop it in Best Picture. I can respect an Oppenheimer Best Picture winner, even if I'm not even sure if it cracks my top three and Nolan is certainly not one of my favorite filmmakers.

I don't think Oppenheimer is getting Best Actor, though. Rooting for Paul Giamatti for The Holdovers on that one. Shame Dominic Sessa couldn't join him in Supporting Actor, but Da'Vine Joy Randolph has essentially got the Oscar in the bag - despite my reservations on how her character essentially disappears in the last third of the film.

But what about Barbie? It's a movie I respect, deeply. But I never thought it in the caliber of Best Picture nominee one bit. The America Ferrera nomination in Supporting Actress I don't support one bit. Gosling? Sure. Robbie? Had a better case than Ferrera, but I understand why she didn't get it. Gerwig? I'm on the fence over her exclusion in Director.

Sensational stuff for Justine Triet and Anatomy of a Fall. It's probably my #2 vote in Best Picture. I just wish Milo Machado Graner was in for Supporting Actor. This is a dark horse, folks, more than capable of pulling off an upset or two come Oscar night. And a damned good movie, too...

... But its success appears to have come at the expense of Trần Anh Hùng's The Taste of Things. And as the Artistic Director of Viet Film Fest in Orange County, California, that stings, as he's VFF alumni. When France passed over Anatomy of a Fall for The Taste of Things in Best International Feature, there was a lot of outrage directed at Taste by people who had and had not seen the film. Perhaps the damage was already done. A massive shame if that was the case.

Other than Poor Things, the other movie with tons of upward momentum right now is Jonathan Glazer's The Zone of Interest. For the record, I think, on its face, you can still make a morally responsible movie about the Holocaust from a Nazi point of view - which I think Glazer mostly does. But my criticism comes from elsewhere. Glazer, in interviews, has said how he wanted to 1) make the movie not primarily about the 1940s, but about our time and our complicity in atrocities and 2) make a film shorn of cinematic artifice to absorb us into the setting. I think his messaging never evolves beyond the basics on the first point; I think he utterly fails on the second. Cases in point: the use of nightvision cameras that only serve to remind the audience they are watching an artistic exercise, the horrific score from Mica Levi that too many film critics (who don't know better, most notably David Ehrlich at IndieWire - really, everyone at IndieWire), and a weird sound mix that reminds me of when stage plays play off-stage sound effects or background noise but that audio doesn't sound sufficiently "far away" enough.

A slight underperformance by Past Lives. It was never going to get a boatload of nominations. But it appears Greta Lee was squeezed out (I have nothing constructive to say about Annette Bening and Jodie Foster in Nyad as I haven't seen the film) and there was scarcely a campaign for Teo Yoo.

American Fiction is, I think, going home empty-handed. Its nominations are the win, and I think it's a decent satire well worth watching.

Maestro doesn't deserve a Best Picture nor its screenplay nomination, but I'm not happy with some of the accusations of Bradley Cooper Oscar-thirsting that's flying around. You folks are taking it much too personally. Did he defecate on your kitchen table or something? Calm. Down.

And speaking about disrespect, there has been a ton of disrespect towards John Williams' nomination for Indiana Jones and the Dial of Destiny. Again, we're coming full circle to an iconic figure of late twentieth century cinema. Especially from fans of Daniel Pemberton's score to Spider-Man: Across the Spider-Verse (who I agree should have been nominated in Score). No, Indy 5 was not great. No, Williams' score to the film was not the best score in the series. No, I don't think Williams should win this year. But did you listen to the score? Helena's theme was gorgeous and its integration across the score was the work of a master. The interplay between the Nazi and Dial themes is something lesser composers just simply cannot replicate. And for those complaining that Williams simply reuses material the entire time, I get the feeling you haven't seen the film or listening to the score by itself (or understand how themes can develop). Yes, I know melody is on its way out in film scores (see: Hans Zimmer, his acolytes, and any composer who thinks that orchestras should be used like drums) and pop music in general in favor of texture and a beat. But I bet you many composers will sell their souls to piece together something half as good as a lesser John Williams score. It's a great score, worthy of its nomination.

Where is Robot Dreams, Neon? This movie's been on my radar for some months now, but radio silence! Do you guys not know how to distribute an animated film? Flee (2021, Denmark) had this same problem! I'm so glad it's in, though.

That nomination for Nimona, though? Dreadful. Again, tumblr won't like I'm going to say this, but I thought it was gratingly written, poorly voice acted, and its humor and character behaviors are going to date like milk.

And a massive congratulations to Godzilla Minus One for its Best Visual Effects nomination. After 38 films in the series, the big fella with atomic breath is heading to the Academy Awards!

No Disney in Animated Short for Once Upon a Studio. Surprising, but not completely so. I'm excited for a slate of independent animated shorts when the short film categories come around!

The Live Action Short slate is rather disappointing. I like the category best when it's full of no-name directors and actors. Without having seen anything else, this is going to Wes Anderson isn't it?

Most prioritized films I haven't seen: all short films, Elemental, Io Capitano, Perfect Days, Robot Dreams, Rustin, Society of the Snow, 20 Days in Mariupol

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vavandeveresfan · 3 months

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"‘Barbie’ is bad. There, I said it." Thank god, someone I can agree with!

Opinion by Pamela Paul for the NYT, January 24, 2024.

We can all agree 2023 was a good year for the movies. Critically and commercially, several movies did well, and only one of those successes took place within the Marvel cinematic universe. Even the 10 Oscar nominees for best picture, announced Tuesday, included nine actually good films.

Is it safe now to call “Barbie” the outlier? Can I say that, despite winsome leads and likable elements, it didn’t cohere or accomplish anything interesting, without being written off as a) mean, b) old, c) hateful or d) humorless?

Every once in a while, a movie is so broadly anticipated, so welcomed, so celebrated that to disparage it felt like a deliberate provocation. After “Barbie” so buoyantly lifted box office figures, it also felt like a willful dismissal of the need to make Hollywood solvent after a season of hell. And it felt like a political statement. Disliking “Barbie” meant either dismissing the power of The Patriarchy or dismissing Modern Feminism. You were either anti-feminist or too feminist or just not the right kind.

Few dared rain on Barbie’s hot pink parade.

Those who openly hated it mostly did so for reasons having to do with what it “stood for.” They abhorred its (oddly anachronistic) third-wave feminist politics. They despised its commercialism and dreaded the prospect of future films about Mattel properties such as Barney and American Girl dolls. They hated the idea of a movie about a sexualized pinup-shaped doll whose toy laptop or Working Woman (“I really talk!”) packaging couldn’t hide the stereotypes under the outfit.

For those who hailed it, there was a manic quality to the “Barbie” enthusiasm, less an “I enjoyed” and more of an “I endorse.” How fabulous its consumer-friendly politics, its I-can’t-believe-they-let-us-do-this micro-subversions, its prepackaged combo of gentle satire and you-go-girl gumption. They loved it for reclaiming dolls and Bazooka-gum pink, its Rainbow Magic diversity, its smug assurance that everything contained within was legitimately feminist/female/fine. They approved of the fact that Weird Barbie’s quirks could X out Stereotypical Barbie’s perfection on some unspoken political balance sheet. That by being everything to everyone, a plastic doll could validate every child’s own unique and irrepressible individuality. To each her own Barbie!

And now there is a new Barbie cause to rally around: the Great Oscar Snub and what it all means — and why it is wrong. Neither Margot Robbie nor Greta Gerwig was nominated for best actress or best director, respectively. “How is that even possible?” one TV host exclaimed.

“To many, the snubbing of the pair further validated the film’s message about how difficult it can be for women to succeed in —<em> and be recognized for </em>— their contributions in a society saturated by sexism,” CNN explained. Ryan Gosling, nominated as best supporting actor for his role as Ken, issued a statement denouncing the snubs and hailing his colleagues.

But hold on. Didn’t another woman, Justine Triet, get nominated for best director (for “Anatomy of a Fall”)? As for “Barbie,” didn’t Gerwig herself get nominated for best adapted screenplay and the always sublime America Ferrera get nominated for best supporting actress? A record three of the best picture nominees were directed by women. It’s not as if women were shut out.

Every time a woman fails to win an accolade doesn’t mean failure for womanhood. Surely women aren’t so pitiable as to need a participation certificate every time we try. We’re well beyond the point where a female artist can’t be criticized on the merits and can’t be expected to handle it as well as any man. (Which means it still hurts like hell for either sex — but not because of their sex.)

Robbie had far less to do in “Barbie” than she did in “I, Tonya,” for which she justifiably got an Oscar nod. In this movie, she was charming and utterly fine, but that doesn’t make it a rare dramatic achievement.

With “Barbie,” Gerwig upped her commercial game from acclaimed art house to bona fide blockbuster. She was demonstrably ambitious in her conception of what could have been an all-out disaster. She got people to go back to the movies. All of these are successes worthy of celebration. But they are not the same as directing a good film.

Surely it is possible to criticize “Barbie” as a creative endeavor. To state that despite its overstuffed playroom aesthetic and musical glaze, the movie was boring. There were no recognizable human characters, something four “Toy Story” movies have shown can be done in a movie populated by toys.

There were no actual stakes, no plot to follow in any real or pretend world that remotely made sense. In lieu of genuine laughs, there were only winking ha-has at a single joke improbably stretched into a feature-length movie. The result produced the forced jollity of a room in which the audience is strenuously urged to “sing along now!”

A few reviewers had the gall to call it. The New York Post described it as “exhausting” and a “self-absorbed and overwrought disappointment,” a judgment for which the reviewer was likely shunned as a houseguest for the remaining summer season.

In our culture of fandoms, hashtags, TikTok sensations, semi-ironic Instagrammable cosplay, embedded anonymous reviews, sponsored endorsements and online grassroots marketing campaigns, not every critical opinion is a deliberate commentary on the culture or the virtue-signaling of an open letter. Sometimes an opinion isn’t some kind of performance or signifier.

There’s a crucial difference between liking the idea of a movie and liking the movie itself. Just as you could like “Jaws” without wanting to instigate a decadeslong paranoia about shark attacks, you can dislike “Barbie” without hating on women. Sometimes a movie is just a movie. And sometimes, alas, not a good one.

#Barbie #Barbie salt #barbie critical

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pynkhues · 3 months

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Thoughts on the Oscar noms? I’m pretty happy with them personally, some very classy choices. On Margot Robbie’s exclusion, I don’t think her performance in Barbie was better than any of the other actresses in the best actress category, it is an absolutely stacked list. I can’t pick a winner at all and I don’t know who would get bumped in favour of her.

My controversial opinion is that I really don't think Barbie should've been nominated for any acting awards, so I'm less mad about Margot missing out and more bugged that Ryan and America were, haha. Especially Ryan tbh - Best Supporting Actor has been stacked this year, and I could probably name ten actors off the top of my head who I think deserve the spot more. Best Supporting Actress has been less competitive, and I do like America so I'm happy for her even though I would've rather she was nommed for Dumb Money than this which was a similar, but slightly more interesting role (albeit in a very flawed film).

But yeah! Overall, I'm pretty happy. I still haven't seen a lot of the movies - there's been a real delay with them coming out in Australia this year which is kind of interesting in terms of regressions in theatrical distribution - but of the ones I have, I'd probably say that those Barbie acting nominations and Maestro's Best Picture + Original Screenplay nominations are the only ones that really pull me up.

Barbie I think is absolutely a technical feat and should be rewarded as such, but I don't think it deserves any Above the Line noms in such a strong year, and Maestro I thought was a disaster that's only gotten the awards attention it has due to strong performances and sublime cinematography. It had nothing to say about Leonard Bernstein, about music, about sexuality, relationships or family. I thought it was staggeringly hollow tbh, and that the screenplay in particular was very weak, so that nomination made me side eye a bit.

I'm bummed Asteroid City got paid dust, and I'm sure after I watch All of Us Strangers and May December that I'll be as mad about Andrew Scott and Charles Melton's snubs as everyone else, haha, but yeah! Overall, pretty happy! What a year for cinema!

#also i am SO happy for danielle brooks #taystee was my absolute fave in oitnb #and i can't wait to see color purple #my nephews went home this morning so i'm officially off kiddo duty which has eaten up the last 2 weeks #so i'm planning on doing the holdovers and anatomy of a fall this week #then color purple and all of us strangers next week #film asks #welcome to my ama #Oscars 2024 #i will watch everything before the actual ceremony #it's just gonna be a bit of a rush this season haha

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buffyfan145 · 3 months

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Love seeing Offscreen Central, a critics association, along with Cinemania World, announce their awards today and "The Iron Claw" got 12 nominations!!! 😀 They announced them earlier on Twitter/X but they also included a lot of other movies that were for the Oscars as well and others that weren't. It got ones for Best Picture, Lead Actor for Zac Efron, Supporting Actor for Harris Dickinson, Best Ensemble for the cast, Best Director for Sean Durkin, Best Original Screenplay, Best Original Song (Mike's song "Live that Way Forever"), Film that Made Us Cry the Most, Best Film Editing, Best Cinematography, Best Costume Design, and Best Sound. Totally makes it up for me and those Oscar snubs. LOL 😏 Not sure when the winners will be announced but still so great to see.

#the iron claw #zac efron #harris dickinson #jeremy allen white #stanley simons #holt mccallany #maura tierney #awards #the von erichs

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denimbex1986 · 4 months

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'Christopher Nolan was lauded as best director at the Golden Globes for “Oppenheimer,” a grim, three-hour historical drama that ignited the box office.

It marks Nolan’s first Globe win, having been previously nominated for writing 2000’s “Memento,” writing and directing 2010’s “Inception” and directing 2017’s “Dunkirk.” In this year’s director race, Nolan was up against Bradley Cooper for “Maestro,” Greta Gerwig for “Barbie,” Yorgos Lanthimos for “Poor Things,” Martin Scorsese for “Killers of the Flower Moon” and Celine Song for “Past Lives.”

“The only time I’ve ever been on this stage before was accepting one of these on behalf of our dear friend, Heath Ledger, and that was complicated and challenging for me,” Nolan said. “In the middle of speaking, I got all stuck, and Robert Downey Jr. caught my eye and gave me a look of love and support — the same look he’s giving me now.”

Nolan directed Ledger in 2008’s comic book smash “The Dark Knight.” The actor died at the age 28 of an accidental overdose after filming was complete but before the movie was released. His haunting portrayal of the Joker earned him numerous posthumous awards, including the Golden Globe and Oscar for best supporting actor.

This time around, Nolan said from the stage, “I thought it would be simpler accepting for myself. But, as a director, I realize I can only accept this on behalf of people. As directors, we bring people together and we try to get them to give their best.” He shouted out the ensemble of “Oppenheimer,” including Cillian Murphy, whom Nolan called “my partner in crime for 20 years,” as well as “the incredible work of our amazing crew.”

Later in the night, Murphy took home the Globe for lead actor in a drama and thanked Nolan for “having faith in me for 20 years.”

“I knew the first time I walked on a Christopher Nolan set that it was different,” Murphy, who worked with Nolan on “The Dark Knight” trilogy, “Inception” and “Dunkirk,” said during his acceptance speech. “I could tell by the level of rigor, the level of focus, the level of dedication, the complete lack of any seating options for actors that I was in the hands of the visionary director and master.”

“Oppenheimer,” the unlikiest of summer blockbusters, crushed expectations to become the third-highest grossing release of 2023 with $951 million worldwide. The movie, adapted from the Pulitzer Prize-winning novel “American Prometheus,” stars Murphy as American theoretical physicist J. Robert Oppenheimer, who led the development of the atomic bomb. Robert Downey Jr., Matt Damon, Emily Blunt, Florence Pugh and Alden Ehrenreich round out the cast.

“Oppenheimer” has been nominated for eight Golden Globes — the second-most of any film this year — including best actor (Murphy), supporting actor (Downey Jr.), supporting actress (Blunt), screenplay and motion picture – drama.'

#Christopher Nolan #Oppenheimer #Cillian Murphy #Golden Globes #Robert Downey Jr.#Emily Blunt #Matt Damon #Florence Pugh #Alden Ehrenreich #American Prometheus #Heath Ledger #The Joker #The Dark Knight #Dunkirk #Inception

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jadelotusflower · 1 year

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2023 Oscar Predictions

Since it's Oscars eve and I actually saw a good chunk of the nominees this year (with some exceptions, so I won't address those categories), my should win/will win breakdown in advance of the ceremony.

Best Actor

Should win: Colin Farrell, who I just thought was wonderful in Banshees, which I absolutely loved.

Will win: Brendan Fraser. I love him and want to see him thrive, I just wish it was for another role.

Best Supporting Actor

Should win: Ke Huy Quan, although honorable mention to Barry Keoghan who was heartbreaking.

Will win: Key Huy Quan

Best Actress

Should win: Michelle Yeoh, a long time coming for a brilliant career (that she wasn't even nominated for The Lady is criminal), but also for this fantastic, difficult role.

Will win: Cate Blanchett

Best Supporting Actress

Should win: Stephanie Hsu - i just loved her so much, and hope she gets the roles she deserves

Will win: Kerry Condon

Best Animated feature

Should win: Guillermo Del Toro's Pinocchio - beautiful, well worth watching!

Will win: Guillermo Del Toro's Pinocchio

Cinematography

Should win: All Quiet on the Western Front - often this category is a case of is it great cinematography, or are they just filming beautiful landscape? This does have some lovely scenery to contrast the trenches, but there were some beautifully composed shots (the train coming out of the darkness springs to mind)

Will win: All Quiet on the Western Front

Costume Design

Should win: Black Panther: Wakanda Forever

Will win: Elvis

Best Director

Should win: Daniel Kwan and Daniel Scheinert

Will win: Daniel Kwan and Daniel Scheinert

Film Editing

Should win: Everything Everywhere All at Once

Will win: Everything Everywhere All at Once

International Feature Film

Should win: All Quiet on the Western Front

Will win: All Quiet on the Western Front

Makeup and Hairstyling

Should win: Black Panther: Wakanda Forever

Will win: Elvis

Original Score

Should win: All Quiet on the Western Front

Will win: Babylon

Original Song

Should win: Lift Me Up - only because I havem't yet seen RRR and am perhaps missing the context of Naatu Naatu

Will win: Naatu Naatu

Production Design

Should win: Avatar: The Way of Water

Will win: Babylon

Sound

Should win: Top Gun: Maverick - I was surprised at how much I enjoyed this, considering it's not really my sort of movie, nor do I have any particular nostalgic feelings for the original, but was impressed by the practical action sequences. If EEAAO wasn't in the mix this would be my pick for editing too.

Will win: Top Gun: Maverick

Visual Effects

Should win: Avatar: The Way of Water

Will win: Avatar: The Way of Water

Adapted Screenplay

Should win: Women Talking

Will win: Women Talking

Original screenplay

Should win: The Banshees of Inisherin - EEAAO absolutely deserves it too, but Banshees really got me on a writing level.

Will win: Everything Everywhere All at Once

Best Picture

Should Win: Everything Everywhere All at Once

Will win: Everything Everywhere All at Once

Overall it was a really strong batch of nominees (unlike last year). EEAAO was my favourite, followed by Banshees, but I also really appreciated All Quiet on the Western Front. Elvis I wasn't really enamored with even though I am generally a Baz fan - it felt more like a feature length montage than a film even though the central performance was strong. Avatar was visually stunning but not much else, I haven't yet seen Tar but I'm not sure it isn't anything we haven't seen before from Blanchett but maybe I'm wrong.

Pinocchio has some incredible animation and also made me cry like a baby at the end, so there's that.

#oscars #oscars 2023 #should win/will win #jlf personal

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ikeameatballspoisonedme · 2 months

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Okay. My prediction + wants on Oscars

Best Picture: Oppenheimer | Killers/Anatomy

Best Actor: Cillian Murphy

Best Actress: Lily Gladstone | also Lily Gladstone but add Sandra Huller and Emma Stone like can they share or something 😭😭😭😭😭

Best Supporting Actress: Da'Vine Joy Randolph

Best Supporting Actor: Robert Downey Jr | Mark Ruffalo

Best Director: Nolan | Scorcese/Triet

Best Original Screenplay: Anatomy of a Fall (PLEEEAAASEEEE LET IT WINN N)

Best Adapted Screenplay: Barbie :( | The Zone of Interest

Best Animated Feature: Spiderverse | The Boy and the Heron (ngl this is tough because even in award season it's split. I loved Heron more tho but of course I wont mind if Spiderverse win. I think Oscars audience enjoyed Spiderverse more?)

Best Production Design: Barbie | Poor Things

Best Makeup: Poor Things (surprised that Barbie isn't nominated???? They got a fucking Israel propaganda instead lol)

Best Cinematography: Poor Things

Best Score: Oppenheimer | Killers/Poor Things

Best Costume Design: Barbie

Best Editing: Killers of the Flower Moon (PLEASE... like it doesn't even feel like a 3.5 hours movie the editing is fucking incredible)

Best Sound: The Zone of Interest

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bloodpen-to-paper · 1 year

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Oscars 2023, Presented By Me

~~~~~~~~~~~~~~~~~~~THE AWARDS~~~~~~~~~~~~~~~~~~~~~

-Off the bat I went into this kinda sour cause I consider Jordan Peele's Nope to be one of last year's best movies for literally every category you can think of (I'll link my post on this here when I finish it) and the fact that it wasn't even nominated just kinda made me uninterested in the Academy's picks, but hey I watched it anyway so here we go

-The Whale has a lot of discourse surrounding it regarding fatphobia and appropriation; I will say that I am very proud of Brendan Fraser for getting the Best Actor win (seriously this man has been through a lot in the industry) and I acknowledge the talent that went into the makeup and hairstyle (which The Whale won the award for), but I agree that there needed to be more consideration around portrayals of morbidly obese people in a movie where they were... clearly not using actual obese people. Yeah. Anyway

-EEAAO won! Like everything! They swept the ceremony with wins in Leading Actress, Supporting Actor and Supporting Actress, Writing (Original Screenplay), Film Editing, and Best Picture! Ok so lemme break this down:

I know I'll get crucified for this or whatever but I was hoping Kate Blanchett would win Best Actress cause I loved her performance in Tár, but Michelle Yeoh was definitely deserving of the win, and it makes me very happy to see older women in the industry beating back the misogyny around Hollywood's aging policy by winning these kinds of awards

Ke Huy Quan, oh what to say about this man. 8 year old me had a crush on him in The Goonies, and I'm so proud of him for springing back so strongly despite his hardships. His acceptance speech was the most emotional I got all night (didn't help that Harrison Ford presented his award to him, I am being personally attacked-)

I love Jamie Lee Curtis, and I was very happy for her win (and anyone who gives her hate for winning is goddamn annoying and not achieving anything other than putting down someone who doesn't deserve it). Having said that, yeah definitely not the best decision giving the only white person in the cast an award for a role that was no where near as important as Stephanie Hsu's role (as well as Angela Bassett's in Wakanda Forever). Feel free to call out the Academy for their shit distribution system at any point

At this point I have yet to see EEAAO, but from what I can see the editing and creativity behind the visuals was insane so good for them for winning in those categories, as well as Best Picture

Loved the energy of the directors, and it was nice that this movie about the Asian diaspora experience not only told their story for all to see, but did a lot for the queer community as well (shout out to the co-director for calling out transphobia and the new anti-drag wave with no hesitation, we stan)

-India came out swinging with a win for "Naatu Naatu" in Best Original Song and The Elephant Whispers for Best Documentary Short Film, Desi folks have been wanting to share their media for eons so I'm very proud for them and can't wait to see more in the future

-The acceptance speech for Best Documentary called Putin the hell out, and the people behind it are still fighting to get Alexei Navalny out of prison; it was bold considering the Oscars are "non political", but speaking out against dictators locking up innocent people should never have been considered political in the first place so good for them

-Angela Bassett holding Austin Butler's hand when Best Actor was being announced 😭

-Who the fuck sold their soul for All Quiet on the Western Front to win all those goddamn technical awards (seriously they won nine. NINE. This movie was a REMAKE. How is Hollywood still so obsessed with 'white man in the trenches' type movies)

-Honestly I would've been sad no matter which movie won Best Animated cause this year's contenders were all SO strong (I watched more movies in this category than I ever have, that should show how good they were). I still wish Wendell and Wild had been nominated (Me? Having a Jordan Peele bias? Blasphemous). With Pinocchio's win, I'm glad that stop motion animation is getting appreciated (which Wendel and Wild totally doesn't have *cough cough* you totally shouldn't watch Wendel and Wild on Netflix *cough cough*). Personally, I wanted Sea Beast to win; it was a highly underrated movie with a black girl lead that was not only very diverse in their people of color and female characters, but also had a strong anti-colonialist theme about how history is written by the winner, and we must be critical of how we analyze the material we consume about the past (its also essentially a love letter to pirates; it shows more accuracy in accents, people and lifestyles surrounding actual pirates than most pirate media, seriously ITS ON NETFLIX, GO WATCH IT)

~~~~~~~~~~~~~~~~~~~THE CEREMONY~~~~~~~~~~~~~~~~~~~~

-Moving on to the Oscar production itself, lets start with the host... I didn't care about the host. Moving on- (ok genuinely it wasn't the worst but I can't help but feel like the Oscar awards ceremony used to be funnier and now we just have Jimmy Kimmel making non-stop Slap jokes and asking Malala, the Taliban survivor, about Spitgate while a dude dressed as Cocaine Bear crawls around on the ground, what in the fuck happened to the Oscars lmao)

-Is it just me or did the Oscars go very quickly? The pacing was much faster than I remember, they spent less time building suspense for announcements, and moved onto new segments like they were in a rush. Not sure if its for practical reasons or cause of this new era of needing to get information out as quickly as possible (short attention spans and what not) but it really stood out to me this season

-We got an official trailer for live action The Little Mermaid and... god it was so weird, Disney is one of the biggest entertainment monopolies in the world HOW CAN THEY NOT AFFORD BETTER CGI (the under water scenes just don't look right and its taking me out) but uh congrats to Halle Bailey I guess?

-Harrison Ford is old as hell but he's out there putting his whole Fordussy into announcing the awards (also his voice is really fucking soothing for some reason, just close your eyes and listen to his announcement segment like??? free ASMR right there)

-They brought a donkey on stage. That's it that's the post. There was donkey.

-Ana de Armas looked gorgeous. Yes I am dedicating a part in this post to point this out

-So did Janelle Monáe. I really like Janelle Monáe. Anyways

-Ariana DuBose's voice cracking when she announced Best Supporting Actor like we do not deserve this woman and neither does the Academy

-Everyone in the crowd would cheer very loudly whenever EEAAO or Wakanda Forever won anything lmao they knew who deserved the awards and they were VOCAL

-When Michelle Yeoh made her acceptance speech I swear to god I have never seen the crowd that well behaved and hyped. They would cheer so loud and as soon as it looked like Michelle was gonna speak they were SILENT, and when she was done they were right back to roaring like it was so funny and very nice to watch

-Michael Jordan saying "Hi Auntie. We love you" to Angela Bassett was so sweet I'm gonna cry

-I'm a cinema history nerd so I was very invested in Michael B. Jordan and Jonathan Majors teaching me about how in old cinema when they wanted certain camera angles, they'd have to get a stage that rises up and sinks down and prop the camera on that cause there didn't used to be pulley systems for cameras and I thought it was cool :]

-Lady Gaga's voice is so fucking smooth even on a mic, how does she do it

-Andrew Garfield morphing into the physical manifestation of "photogenic" when Jimmy Kimmel shouted him out oml

-Having Halle Berry, the first woman of color to receive a Best Actress award, presenting Michelle Yeoh's award as the first Asian to win Best Actress is that one Gaga meme (this the one https://www.glossy.co/wp-content/uploads/sites/4/2022/09/gaga.jpeg)

-Pedro Pascal and Elizabeth Olsen duo announcing and Andrew Garfield and Florence Pugh duo announcing and Paul Dano and Julia Louis-Dreyfus then Salma Hayek and Antonio Banderas (Latines ftw) and Dwayne Johnson and Emily Blunt's funny backstage photos and Melissa McCarthy and Brian Tyree Henry's announcing best costume and with their over-the-top glorious outfits and Miss Cara MF Delevingne and THE Zoe Saldana like were they TRYING to kill me with these announcers? (For context: they are hot, and beloved. Thank you for listening.)

-Speaking of Pedro Pascal... what the fuck was he doing there lmao? The finale of the fucking Last of Us aired DURING THE AWARD CEREMONY and he just pops up at the Oscars like he doesn't have somewhere to be lmao what an icon

-Loved seeing Harry Shum Jr. doing the moonwalk and carrying James Hong during the after party

-Stephanie Hsu going up on stage to perform "This Is a Life" when she came in as a crowd member nominee like the range this woman has

-"Naatu Naatu" live performance was the performance highlight of the Oscars, I don't care come at me I can fight (also the mental image of old white people at this awards ceremony seeing Bollywood style dance and song for the first time is so fucking funny to me like they thought the Encanto performance with Meghan Thee Stallion last year would be the end of it but NOPE)

-Overall, this year was not too crazy (the pain of Amy Schumer hosting mixed with The Slap can never be out-crazied tbh), Jimmy Kimmel was Jimmy Kimmel, and I'd say the highlights were in the EEAAO wins and the music performances. Its the Oscars, nothing more to say

#random thoughts #oscars #oscars 2023 #academy awards #academy awards 2023 #thanks for reading #lemme know what you think!#review

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bollywood143114 · 1 year

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India's Slumdog Millionaire continues to win after winning seven Oscars. You can't beat everything at once everywhere.

Slumdog Millionaire vs Everywhere at Once: Oscar 2023 best film of the year everywhere at once got the movie This list includes the names of 10 films that have won 7 Oscars. Directed by Daniel Kwan and Daniel Scheinert, the name Everything Everywhere All at Once is now making headlines worldwide, but even the book couldn't beat India's Slumdog Millionaire. What is the story of Everything Everywhere All at Once Talking about the story of Everything Everywhere All at Once, she says that the film is based on a woman in China and shows her facing unexpected adventures. During that time, she also connects to other universes. The woman's journey is shown throughout the film. Speaking of the film's international achievements, I would like to mention that Everything Everywhere All at Once won BAFTA Awards for Best Supporting Actor and Actress, as well as a Critics Choice Award and Golden Globe Award. Oscars won in 7 out of 11 categories. The film Everything Everywhere All at Once was nominated for 11 Oscars, but won only 7 of them. In this episode, Michelle Yeo won Best Actress, Jamie Lee Curtis Best Supporting Actress, and Kwon Ki-hee won Best Supporting Actor and Best Actor for this film. So at the same time, the film also won awards for editing and best screenplay. The film also won the Best Director award. If you want to see this movie in that situation, you can watch it on Netflix. 'Slumdog Millionaire' wins the most awards On the other hand, if we talk about awards for 'Slumdog Millionaire', let's say that in 2009, director Danny Boyle's 'Slumdog Millionaire' won the title with the most awards. In this episode, the film won eight Oscars, including Best Picture, Best Director, and Original Song. At the same time, 'Everything Everywhere One at Once' won 7 Oscars, becoming the second most awarded film. ALSO READ- Why does Virat Kohli kiss his locket every century? I know what’s special about that rocket DISCLAIMER We’ve taken all measures to insure that the information handed in this composition and on our social media platform is believable, vindicated and sourced from other Big media Houses. For any feedback or complaint, reach out to us at [email protected] Read the full article

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bethannangel · 1 year

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Elvis is top 5 for BP for sure, I mean it got 8 nominations. I don't think it will win either because it didn't get a screenplay or director nom (baz luhrmann robbed) but academy members loved the movie. If anything shouldn't be there it's top gun and avatar imo

I totally agree with you about Top Gun Maverick and Avatar 2. Avatar 2 might get a pass because the amount of effects and still making sure the acting comes across as well. As much as I can say it’s the screenplay/dialogue it self I have an issue with, it’s just a simple straightforward story.

I love tgm so much and I’m excited that it’s up for best picture, but it’s really just there to get people watching the award show. Not to detract from the amazing flying and self directing from the actors and the editing team working all those hours. And as much as I love Miles Teller as Rooster, there’s a good reason why he and Cruise aren’t up for the best actor/supporting actor categories. (My bias tells me Glen would’ve gotten it but that’s cause I’ve fallen in love with the dude)

I did not like the way Baz Lurhman directed Elvis. Personally it doesn’t even reach Romeo + Juliet levels. The movie just didn’t work for me on so many levels. Austin Butler does pop off the screen and deserves his Oscar nom and as much as I don’t like Tom Hanks performance in it, it somehow does work. I really think it’s riding the high of Elvis’ work and tragic life.

The way I’d vote on the ballot, taking away personal preference, would be

The Banshees of Inisherin

Tár

Everything Everywhere All At Once

All Quiet on the Western Front

Avatar 2

Triangle of Sadness

Women Talking

Elvis

The Fabelmans

Top Gun Maverick

#I already know having the fabelmans this low is like wtf are you thinking but I’m telling you the movies is great but if it wasn’t based #on Spielberg’s family then no body would have seen this movie #if you put this exact movie out and put a different director on it and it has no true story relevance #it would flown under the radar #Triangle of Sadness is high up in comparison because it gives something different but all the same #is the whole second act just people vomiting and sitting on a toilet? yeah but it works in the narrative so well I didn’t mind it #I’m fully expecting people to block me at this point #anon ask #answered

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pickon7 · 1 year

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Oscar 2022 nominations, Winners, Trivia Quiz & History: Best things you need to know

Oscar 2022 nominations, Winners, Trivia Quiz | Credit: Getty Images and Pickon The Academy Awards, better known as the Oscars, are awards for artistic and technical merit for the American and international film industry. In this blog we will be going through some interesting facts about Oscars and where India stands compared to others.

What are the rules & eligibility for a movie to get nominated for Oscars?

- Time-line - 40 min. or more - Minimum 7 days in theaters - Resolution CGIs, VFX etc.. Learn more about rules & eligibility to get nominated for Oscars

Where did 'Oscars' name come from?

Margaret Herrick, who used to be the librarian of Academy Awards and later became the Executive Director of the Academy of Motion, once stated that the Trophy remembers her of her dear uncle ever since the Award is called as Oscars. Read More: Harry potter characters quiz

Which movie got the first Oscar? And First Indian movie sent for Best International Films?

- Wings, who got the first Oscar in 1929 at the first ever ceremony of Academy Awards. - To begin with, Mother India became the first movie sent by India for Best International Films and even successfully reached the final round but unfortunately lost by just 1 vote. - In addition, Lagan and Salam Bombay have also made their journey till the final round for the same award. - Furthermore, in 2008 Slumdog Millionaire set a milestone for Indian Films, Movie got a total 3 oscars. Learn more: History of Oscars

Flashback: 2021 Academy Awards Winners

Best Picture: - Nomadland - Peter Spears, Frances McDormand, Dan Janvey, Chloe Zhao, Mollye, Asher Actor In A Leading Role: - Anthony Hopkins - The Father Actress In A Leading Role: - Frances McDormand - Nomadland Actor In A Supporting Role: - Daniel Kaluuya - Judas And The Black Messiah Actress In A Supporting Role: - Youn Yuh Jung - Minari Animated Feature Film: - Soul - Peter Docter Cinematography: - Mank - Eric Messerschmidt Costume Design: - Ma Rainey's Black Bottom - Ann Roth Directing: - Nomadland - Chloe Zhao Documentary Feature: - My Octopus Teacher - Pippa Ehrlich, James Reed, Craig Foster Documentary Short: - Colette - Anthony Giacchino, Alice Doyard Film Editing: - Sound Of Metal - Mikkel E.G. Nielsen International Feature Film: - Another Round - Denmark Makeup and Hairstyling: - Ma Rainey's Black Bottom Music Original Score: - Soul - Trent Reznor, Atticus Ross, Jon Batiste Music Original Song: - Judas And The Black Messiah Production Design: - Mank Short Film Animated: - If Anything Happens I Love You Short Film Live Action: - Two Distant Strangers Visual Effects: - Tenet Writing Adapted Screenplay: - The Father - Christopher Hampton, Florian Zeller Writing Original Screenplay: - Promising Young Woman Sound: - Sound Of Metal Oscar 2022 Winners Trivia Quiz > Read the full article

#AcademyAwards #Awards #Movies #Oscars

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dunne-ias · 2 years

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Can’t believe I’m writing this, but the live action movie The Last Airbender did NOT deserve 5 Razzies.

Background: The best animated series of all time (in my opinion), Avatar, The Last Airbender, was turned into a horrible live action movie directed by M. Night Shyamalan. I don’t recommend watching this movie. Seriously. Don’t. It is a terrible movie, in almost every single way (the score is beautiful though), and there are plenty of youtube videos and podcast episodes about how bad it is should your interest be piqued.

At the Golden Raspberry Awards, an award show for the worst movie/actors etc. that year, TLA was nominated in 9 categories, and won 5 of them, which is rather impressive.

However, and I think this is important to remember when reviewing movies, good or bad, there’s something illogical with winning all those awards, and I’m going to explain why.

The three main supporting actors/actresses were all nominated. Jonathan Rathbone for Sokka (and also for that part in whatever Twilight movie came out that year), Dev Patel for Zuko and Nicola Peltz for Katara. Rathbone won, the other two didn’t. (I’ve seen Rathbone in an episode of Criminal Minds where he was brilliant, but I haven’t seen Twilight (but I know that’s a bad movie too, so it’s entirely possible that some of what I have to say here is relevant for that movie too).

Shyamalan won for worst director and worst screenplay. This is odd.

Like I said, the movie is bad as a whole, don’t get me wrong, but doesn’t “bad actor” mean that a good actor could have done something better with the material?

Jonathan Rathbone’s portrayal of Sokka was a bad Sokka, but that is the Sokka that was in the script (not funny, not particularly smart, and all of his character development got scrapped, and his main plotline in the movie was summed up by Katara/narrator in a few lines), so what would a good actor do with that? If the script is bad, is it the actor’s fault? His job wasn’t to rewrite lines or scenes so he could actually work with Sokka as a character.

And if the actor isn’t brining the right energy to the scene, isn’t that up to the director to, you know, direct them and explain what he wants?

The script is a fucking mess of bad bending effects and then exposition (hey, do you know Zhao visited an ancient library? Yeah, he did, he visited an ancient library, and he learned stuff, at his visit to the ancient library). Scenes, plotlines, character development is reduced to a few lines of summary from the narrator. What would a good actor do in such a situation? A young actor too, who probably couldn’t believe his luck in being in two big budget movies in the same year. After all, it’s not like he’s DOB.

I can’t say much about the direction, because I think it can be hard to tell good form bad sometimes, but if the director doesn’t want Sokka to come off as a hostile jerk to Katara in the beginning of the movie, he has a say in that, doesn’t he? “Smile more, Jonathan, Sokka is the comic relief!” Isn’t that the director’s job?

And then “bad script”, Okay, so if the script is the problem, that means the actor’s would’ve been better if the script was good, right? It it’s the script that’s the problem (which, frankly, I believe), then all the actors would’ve have performed? The direction would have been good enough to produce the effects the director wanted? Because let’s not forget, that’s still Jonathan Rathbone, who was nominated for another worst actor award. It’s still Dev Patel (in my opinion, the only performance I enjoyed), and it’s still Nicola Petz. By nominating it for worst script, we’re saying they would been good if the script had been better.

I think it’s possible for a movie to be bad on all fronts, and TLA did win worst picture too, it’s just odd to me that a movie would have bad direction AND bad script, AND bad acting all at once, since these things affect each other. But to say that all three of these things are simultaneously not only bad, but the worst, seems odd. Do we blame the chicken or the egg, or the chef? Sure, they can all be bad, but the odds are against that.

While to me it’s clear the biggest problems with the movie was the script, the racially insensitive casting, and the bad use of CG effects, that’s just my opinion, but there’s no telling if one of the three main things could’ve been better while the other two remains the same, and if so, which one, and that kinda makes it unfair to give the movie the award in all three areas.

Thank you for coming to my TED talk I guess?

Note: the fifth Razzie was for Worst Eye-Gouging Mis-Use of 3D, an award only given that year. I have nothing to comment on that.

#long post #a:tla #the last airbender #the last airbender live action #nonsims #opinions #I did this instead of working today because I am a responsible adult.

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