Joel M
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Posts posted by Joel M
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13 minutes ago, grey ghost said:
But they have to basically be Best Picture material to get those numbers.
True Grit was BP material though and had a ton of nominations. Westerns are not that popular OS anymore with oscars or not, Revenant and Django are rare exceptions. Even if Hostiles got in the oscar race and did something like 80m DOM it would still struggle to make half of that OS.
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I don't see the point in not expanding CMBYN this weekend. That's the peak of its oscar buzz, it's not gonna win anything from here on out.
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Hanks probably was never that big of an Academy darling despite his back-to-back wins. Even in his prime he got just five nominations and they were all for his most iconic hits and Philadelphia which was groundbreaking for its time. He didn't got nominated for Apollo 13 despite the movie being a BP conteder and Green Mile was also a top5 academy movie, and they were both huge hits.
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On 22/1/2018 at 8:12 PM, Quigley said:
Greek comedy 'Bachelor 2' crossed 200K admissions and is bound to top Greek historical drama 'Kazantzakis' (~230K admissions) and rank as the top Greek film of 2017. That says a lot about the historical drama genre which used to be unbeatable. 'Bachelor 2' echoes the success of sleeper-hit Greek comedy 'Perfect Strangers' from Christmas 2016 (200K admissions) and it is the biggest Greek comedy in 6 years, since 2011's 'The Island 2' (299K admissions). Maybe this should work as a reminder for the (remnants of the) Greek film industry that historical dramas (even poorly executed ones) are not the only things that Greek audiences crave for. I know... it seems unbelievable I managed to squeeze so many caustic comments into a single sentence.
I think it happens because those 2 genres bring to the theatre people that just don't see any other kind of movie. I'm basing this purely on anecdotal evindence but every person I know that goes to see X terrible raunchy comedy or Y historical snoozefest doesn't go to see the superhero movies or horror or the movie that might win all the oscars or that European WOM hit that happens every summer. The only reason they go to the theatre is to see that b-celebrity they know from TV fall down a lot or a historical event that they have lived or their parents lived. I'm not saying that these people are 100% of Bachelor's and Kazantzakis audience, but they're a big part.
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Just saw them, pretty good across the board with some surprises.
The Hammer snub was the one that hurt the most, BUT MCDONAGH OUT. Big blow for since McDonagh isn't a movie star. SOW got all the nominations but it was expected for a movie that had so much heat for both technical and above-the-line categories, and Lady Bird and Get Out got all the nominations they should, maybe Get Out could get editing but it didn't. So no idea what's winning but I just don't see the Shape of Water that many assume will happen. It's a delightful movie but it's very strange for a consesus pick, I think a lot of ballots will have it near the bottom not because of frontrunner backlash but because of fish sex and spontaneous gruesome violence.
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I think last year was the first time the SAG stat became a big oscar race argument. And it happened because it was the only way you could argue that this race wasn't over. But by the end of that oscar race everyone was pretty much sure that the SAG stat will finally break and LLL will win because the unbreakable stat until then was that you have to get at least one of PGA/DGA/SAG win to get BP. In the end we were all wrong, Moonlight broke the unbreakable stat and now winning the big guilds is irrelevant and the SAG ensemble nomination is all that matters.
I agree that SOW doesn't look like it will win BP but not because of a stupid stat. This year feels like a "statement" year (for the oscars and Hollywood in general) even more than 2016 because of Weinstein and SOW just isn't that so I think one of 3B/LB will prevail in the end even if SOW sweeps almost everything before oscar night. But that stupid stat will eventually break like every other stat before it, and then we can all argue about why a BFCA supporting actor nomination is really what locks a BP winner.
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Is the Hostile theatre count and PTA a typo? Doesn't make sense that it a has higher PTA in 5th weekend on 49 theatres than its OW in only 3 theatres.
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I was hoping for either Get Out or Lady Bird to take this since Shape of Water looked good for DGA and 3B looks like it'll win SAG ensemble plus Rockwell and McDormad. And considering one of those two movies will probably win at the BAFTAs does Lady Bird and Get Out still have a chance?
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Amazing movie. I liked Bone Tomahawk but this is a better movie in almost every way. From the car destruction scene Vince Vaughn completely grabs your attention through the end. Despite the movie being full of brutal violence and non-stop nihilism it didn't feel like schlock just for the sake of it. The story and Vaughn's descent into prison hell registered with me on an emotional level. It makes you relish in the violence and at the same time feeling guilty for cheering on because every brutal confrontation goes on for a few more crushed bones than you expect.
Really great movie. I can't wait for the director's next movie which has the awesome title Dragged across Concrete.
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Armie Hammer definately doesn't look a day under 30 but I never felt that the relationship was wrong or predatory.
I don't think it's a masterpiece and I found it a little bit slight under all the great performances and gorgeous Italian scenery. But the gay romance being so casual and devoid of overwhelming tragedy was the best thing about this movie. I feel like 90% of the gay themed dramas I have seen end up in AIDS, Suicide, hate crime or a combination of them, and I sort of expected some kind of TRAGEDY to hit any minute but it never did. It was a story of first love and was kept bittersweet and mellow through the end.
The 2 leads were terrific.
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13 hours ago, kowhite said:
I mean, he never said this would be his last.
I guess it's supposed to be second-to-last because QT counts Kill Bill as one movie. He won't retire anyway, he's too young.
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I was mesmerised by many of the director's decisions in this movie. How he uses the aspect ratio, how he makes the sheet with 2 holes feel poetic isntead of just ridiculous, how he tackles heavy themes without feeling pretentious. But at the same time I felt this movie could be something more, even if I don't have a specific thing to point out that kept it from greatness. I guess you could argue about the pie scene, the obvious monologue or the "twist" but I think all of these things work in the context of the movie and the feeling it wishes to convey. But something is missing, I don't know what it is. I felt exactly the same about Lowery's 2 previous movies, like they were good movies, but just a step below they become great movies.
Whatever "it" is, I hope he finds it because from what I've seen Lowery is a really talented filmmaker.
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The biggest change is still the near-extinction of mid-budget movies not the release pattern. Despite staggered releases studios were pushing those movies as their big movies of the fall/winter they didn't just rely on oscar buzz to do their marketing job, there wasn't even that much oscar buzz back then prior to ceremony, it was just the globes and oscar nominations, only industry people paid much attention to the other awards.
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15 hours ago, BardCrank said:
If Deakins loses this it will be to TSOW
A movie will not win a best director award unless the movie won BP and was an undeniable winner ( The Artist , King's Speech ) or the movie is a technical wonder in every aspect ( Gravity , Life of Pi ) or if you are a god so you achieve both ( Birdman )
Hooper, Hazanavicius and Inarritu the undeniable winners of this decade
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11 hours ago, La Binoche said:
GHOST. Not only a smash in the US, but at the time the highest grossing film of all time internationally.
It was #2 behind E.T. which made 304m in 82' and another 20m in '85.
And it is notable how suddenly the OS grosses expanded in '89-'90. For every one of the mega hits of the 70s-80s (besides E.T.) a little over-under 200m OS was the ceiling. And in the span of 89-90 we got this:
Indian Jones 3 277m OS
Back to Future 2 213m
Pretty Woman 285m
Ghost 288m
Dances with Wolves 240m
I don't think it was just inflation, it looks like OS markets had another expansion back then, maybe a little smaller than the early 00s expansion or the China explosion a few years ago.
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Hell yeah!
I wonder if he'll be the lead or a Brad Pitt in Basterds kind of role.
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12 hours ago, slambros said:
I've thought it before and I still think it now that The Shape of Water has the capacity to be a major frontrunner, as it appeals to many people at once: The steak and potatoes people voting for period films, the hipsters looking to reward a 'genre' film, and the voters who want to reward a film with a strong female lead. The Shape of Water may have missed some important precursors, but the film is certainly still in contention for the Best Picture win. And I would likely be correct in saying that the film would very likely fail to be a backlash-receiving candidate unlike Three Billboards.
In my opinion, the Critic's Choice win puts the film in a very good position.
disagree on this one. It looked like a crowdpleaser for everyone on paper, but after I saw it I thought it is just as weird as any Del Toro movie. The sex scene alone would be a deal-breaker for a lot of people.
Personally I can't still believe that Del Toro will win a BD oscar for this film. I always thought if he ever was gonna complete the Three Amigos sweep it will be with a more oscar friendly or "prestigy" subject. I'm certainly rooting for him, though.
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If that article is all there is about Franco it will def feel uncomfortable and it will be brought up a lot over the next months if he's nominated, but if that's all and no other stories come to light it's not much. I've read it and most of the accusations read as so flimsy the most damning part of the whole thing ends up being the title "5 women accuse Franco for sex stuff".
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I didn't find this scary at all, pretty much everything after the first death is just not scary it can't be. And yet I still think this is a great movie. For me it played exactly like the late 90s-early 00s teen movie, it had a fun/ridiculous concept, the lead was perfect, it was smart at times, smartass at others and despite the ridiculousness it had a romantic undercurrent that was completely genuine.
It might be my favorite Blumhouse production of 2017.
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I've been following the oscars since 2000. The only years we weren't 100% sure what's winning BP before oscar night:
2000: Gladiator-Crouching Tiger-Traffic
2006: Departed-LMS-Babel
2015: Spotlight-Revenant-Big Short
and there were the 2 years we were 100% sure but wrong.
2005: Brokeback-Crash
2016: LLL-Moonlight
But there's a scenario this year could be the most insane ever. SOW wins DGA, Get Out wins PGA, 3billboards wins SAG and LB wins WGA. And then nolan/dunkirk win at the BAFTA's which could happen even with Dunkirk not being much of a factor in the race because it was huge in the UK.
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This is one of my favorite movies for 2017, maybe even my #1. I have never seen any previous Safdie Bros movie, didn't even knew they exist really, and Good Time was really a huge surprise for me.
I loved pretty much everything about it. The relentless music, the colours, they way every little episode is even more crazy than the previous one. It operates on a hightened reality but it absolutely works because it's filled with weird characters and it has such a great pace I couldn't take my eyes off the screen. The two movies that it reminded me them most were Run Lola Run and Scorsese's After Hours, and I love both of those movies. But especially like Run Lola Run, Good Time seems like it was edited to fit the music not the other way around. Really impressive stuff. Pattinson is fantastic, he's been good in other stuff, but this is his best easily. Buddy Duress is also phenomenal, his monologue about the bottle was the best scene in the movie.
It's really a shame it was a non-starter at the boxoffice but it seems like the type of film that could get a cult following over the years.
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5 hours ago, filmlover said:
The Post was intentionally left off because it's a big studio release with big name talent attached with box office aspirations. Everything listed in the poll is not.
And it has a 50m budget. Even the most moderate expectations for something like the Post would be around 70m which is higher than most of the other movies best possible outcome.
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44 minutes ago, Krissykins said:
2017 was the first year no Marvel film made the top 3 for the year since 2011.
Superhero fatigue
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4 hours ago, Barnack said:
They're was a link between loving really bad movie and being particularly intelligent, I imagine it is a bit of an hipster think to like The Room, Sharknado, etc... and have that kind of interest:
Trash films are for the elite.
I assume hipsters have already done a 180 on the Room since it's become so popular and will become even more because of the Franco movie. Troll 2 is next.
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GREECE: 'Inside Out 2' becomes BIGGEST animated film of all time
in International Box Office
Posted
I haven't seen it, but going by the director's other movies I would say no. Out of all the historical dramas I've seen, his are the worst by a fair margin.