TStechnij

NYFF is hinting to this being their secret screening. Kind of uninspired, but I think this is going to do gangbusters.

I've heard that this might have a chance at acting noms and possibly screenplay. Paramount don't really have awards players this year and they are releasing this on a really packed day. It is weird. I think it could make money, but, as mentioned, the Oscar potential doesn't really seem there. Paramount has no idea what they're doing this year. Hope they don't mess up Anomalisa.

That's what test screening reactions have said. It isn't finished yet though.

Post-TIFF Predictions: Carol Blanchett- Truth / Carol Brie Larson- Room Jennifer Lawerence- Joy Saorise Ronan- Brooklyn Charlotte Rampling- 45 Years If Blanchett doesn't get in for Truth than I am predicting a Larson win.

A possibility actually. Hm. I guess we'll have to see how things play out with The Good Dinosaur.

By a long shot, you actually mean impossible. But critic awards should be coming her way!!

Trying not to be reactionary and a good Oscar predictor is someone who takes their personal preferences out of it. After seeing Room I thought that Larson should surely be in contention for a nod, but A24 has a weak track record since they are a young and studio and don't have the fiscal means for large campaigns. That being said, Larson is ALL over Twitter and doing the campaigning herself. Bless her heart, it is quite amusing. That on top of the People's Choice Award at TIFF seem like a good start to a season and a nod. A24 should campaign this more than just a Best Actress though, it could be a moderate sized player. I also think that Larson has the narrative and role to be a winner too. Is the Academy really ready to give Lawerence her 2nd Oscar especially since she should've won the year after her first? The only way Blanchett could make noice for a third is if she wins all the critic awards as a pairing of Truth and Carol and gets nommed for Truth. Besides that, nothing seems like a winner.

I don't think people are predicting Anomalisa for a win. Just a nod. Inside Out should run away with this unless the Annies and LAFCA, NY Critics and The NBR start giving Anomalisa top prizes or runner ups.

Yeah. Room is definitely in the running for a BP nom and Larson can contend for a nod and maybe even a win.

All of my gay friends call A Single Man a masterpiece. What does the straight populous think?

Weiss has some moments of genius and also some that fall short. Dano is good throughout. Fonda comes for one scene and just kills it. Absolutely powerhouse moment.

And Jane Fonda is 77!

"Fred and Mick, two old friends, are on vacation in an elegant hotel at the foot of the Alps. Fred, a composer and conductor, is now retired. Mick, a film director, is still working. They look with curiosity and tenderness on their children's confused lives, Mick's enthusiastic young writers, and the other hotel guests. While Mick scrambles to finish the screenplay for what he imagines will be his last important film, Fred has no intention of resuming his musical career. But someone wants at all costs to hear him conduct again." One of my favorite films coming out of TIFF and likely the top of my list that will get an viewers. Emotional and absolutely gorgeous. Please make me rave about this film because I will.

I get the miscast argument but I like to think Rosalynd was really young. It explains her behavior-- like someone who tried to grow up too fast.

It is everywhere. I mean, except for that 90 metascore. The tasteless can stay pressed.

Hustle is the movie that made me notice movies. A masterpiece. <3

Not even the worst of it unfortunately.

Harvey Weinstein from TWC. He distributed the film stateside. He is actively not promoting and burying the film. No one is going to see it until it is on Prime in February, which is a huge deal. It won't get award traction and will probably not expand past 50 screens. Weinstein does that with a lot of Coitillard films and people seem to think he has it out for her.

He's supporting unless they do category fraud because they think that can get Attah in.

I fell for it too. This screams "good TIFF reception but soon forgotten about as the real players make themselves clear." I think the most surprising story of TIFF is this huge buzz following Brooklyn after a quiet Sundance.

lol. This is not an Oscar front-runner. This year's biggest Oscar contenders are coming out really late. The pundits haven't been too hot this year. If it gets in it'll be bottom five.

No trailer yet. It just got picked up.

The comparisons are so unnecessary. Gravity is a drama taking place in a few hours which bodes it's incredible technical elements. The Martian is a dramedy which focuses on narrative and a personal odyssey. I may make judgements before I see a movie, but I would never get my mind set on something for the sake of hating it.

I'd slow your roll with Anomalisa. Paramount is pretty messy and it may be too minor to be in contention. I think Inside Out is still going to be the only animated film to make a dent in the best picture race. High critical a best picture nominee does not make. (Just look at The Danish Girl. If the LAFCA gives it best picture (which is something I could see them doing) we should reaccess. It has a chance at adapted screenplay and should get a nomination for best animated picture. If it get the BAM mom then we need to consider that a win since it is going up against two Pixar giants and has about a 5% chance of a win. Keep Macbeth away from your predictions. Harvey is trying to bury that and it will have no visibility come voting season. And Brooklyn isn't going to happen.

I still have 10 films to see, but here is my current inclination. http://letterboxd.com/tstechnij/list/tiff40-ranked People have been calling Spotlight the omly impressive American film, which I just can't agree with. It is a serviceable thriller. A solid 3/4. Arabian Nights collectively is a masterpiece in every since of the word. Probably in my personal top ten ever. I haven't seen any other Sorrentino or Davies, but I adored Youth and Sunset song. I'd call them both masterpieces despite their divisiveness. 3.5/4 Son of Saul is so unbelievably real and just absolutely unique filmmaking. One of the most shocking and heart breaking films I've ever seen. Need to see it again to truly access. 3.5/4 The Meddler is the best straight comedy I've ever seen. Uproariously funny and effectively emotional. 3.5/4 The rest of my 3.5/4s are Desde Álla, Francofonia, Cemetery of Splendour, Anomalisa, Room, The Wait, and 45 Years