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Gavin Feng

Weekdays Thread: Barbie $9.1M MON | $9.6M TUES

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1 minute ago, ListenHunnyUrOver said:

What does that have to do with her takes?

 

 

 

It shows she's someone with exceedingly poor judgment, and her take should be treated accordingly.

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8 minutes ago, MovieMan89 said:

There’s no way. Bruno was a pop culture phenomenon beyond Let It Go (and any movie song ever really except MAYBE My Heart Will Go On). Even if they didn’t care about the unique artistic achievement of it, they would have cared about that.
 

It was such a phenomenon in fact, they shoe horned a performance into the show despite no nomination (bc Disney didn’t submit it) all but confirming they wanted to give it the award.

Blame L-M Miranda for not submitting Bruno for Best song. He went for the emotional song that was utterly forgettable. Sometimes you just don't know what you have will become massive until it is too late.

Edited by Mojoguy
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22 minutes ago, ringedmortality said:

 

Only two Disney songs have won in the past ten years. That's out of five nominations.


One was Let it Go, which was a chart topper, and the other was Remember Me in kind of a weak year for the category.

 

 

To be fair, "Remember Me"'s year really wasn't that weak, and its win was fully earned. "This is Me" was a legitimate hit that charted in several countries (which "Remember Me" didn't) from a movie that was nearly as much of a hit. The fact that "Remember Me" won really should be credited to both how well done it was (as a song that had to work in several different versions and styles) and the role it played in its film--exactly what Original Song should be rewarding.

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33 minutes ago, ThomasNicole said:

I think Barbie will win song as well, Billie song is absolutely massive and the academy like her 

 

Then there’s Ryan song that isn’t a huge hit but have such a strong scene that can help 

 

Both would be worthy contenders. Has there been any word on which song the producers are considering submitting? (The one-song-per-film rule is so stupid.) eta: Correcting myself. Films can submit up to five so they're fine. Based on the Encanto submission, I thought I'd read they could only submit one, but no, that was Disney or Miranda's call to do so.

Edited by KC7
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Just now, Mojoguy said:

Blame L-M Miranda for not submitting Bruno for Best song. He went for the emotional song that was utterly forgettable. Sometimes you just don't know what you have will become massive until it us too late.

Ah that’s right, I do remember jt coming out it was an LMM push. I get if the song had more personal meaning to him, but that doesn’t mean you use that as a gauge for the best song to submit for awards. 

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15 minutes ago, ringedmortality said:

 

The characters and relationships in both Barbie and EEAAO are weak and forced. Relying on these grand emotional moments that don't feel earned. That's something they both have in common.

 

I don't even now how they are forced in EEAAO. The family dynamic in EEAAO is as typical of a second generation Chinese immigrant family as it gets. If that's forced then like a gazillion of Chinese immigrant families have forced relationships.

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29 minutes ago, ListenHunnyUrOver said:

Just because EEAAO and Barbie both have “silly elements” doesn’t mean Barbie is on the same level as EEAAO. 

I think all quality arguments about film are subjective. If someone thinks The Room is better than The Godfather, you're not going to argue them into changing their minds.

 

Box office is cold hard numbers, but even the numbers can be relative/up to interpretation. Metrics like Metacritic or a Rotten Tomatoes critics score can measure how critics responded to a movie, in general. But critics aren't Academy voters. To win Oscars, movies just have to appeal to enough voters at the right time. You see a lot of awards watchers miss on their predictions because they say what amounts to, "Well, I didn't like it!" about a performance/movie, as if that means much in terms of how the Oscars will actually go. Unless the AMPAS members ultimately feel the same way, not really.

 

 

26 minutes ago, MovieMan89 said:

Barbie is actually the perfect BP winner if the Acadmey actually does care about pushing a narrative of how they’re changing and evolving. It pretty much fell right into their laps if that’s their big concern going forward. Meanwhile, Opp is basically the perfect BP winner if they want to stick to traditional Oscar tropes. Especially one of their all time favorite things to do - finally award the prestige filmmaker/actor for something Oscar bait who have a history of snubbing. 

When the Honest Ballots came out the year that Dunkirk was nominated, there were multiple negative comments about the nonlinear structure. Little Women got that too a couple years later. Not everyone can hang with a story that isn't completely straightforward. Killers of the Flower Moon might end up being the Goldilocks choice that's "serious" enough without being too "confusing".

Edited by BoxOfficeFangrl
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3 hours ago, ringedmortality said:

 

I'm betting both get two above the line wins (Director and Supporting Actor for Oppenheimer, Adapted Screenplay and Lead Actress for Barbie). Oppenheimer wins more techs  (Sound, Film Editing, Cinematography, Original Score) than Barbie (production design, costume design, original song).

Think Killers gets adapted and Murphy gets lead actor, picture is a toss-up. 

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EEAAO is a truly original film and not a blockbuster which worked in its favor. Barbie being a blockbuster and being called BARBIE will work against it. I think it will get a bunch of noms but no wins in the major categories, except for maybe screenplay. 

 

CODA is my second favorite BP win of the last decade, honestly (behind Moonlight). An unpretentious, feel good movie winning is refreshing once in awhile. I would not put it in the same category as Green Book, which is truly one of the worst BP wins. 

Edited by Ororo Munroe
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19 minutes ago, eeetooki said:

 

I don't even now how they are forced in EEAAO. The family dynamic in EEAAO is as typical of a second generation Chinese immigrant family as it gets. If that's forced then like a gazillion of Chinese immigrant families have forced relationships.

 

EEAAO fans hiding behind that has always been a thing. I'm a second generation immigrant and my family dynamics are pretty similar. Bringing that up isn't gonna make how surface level everything in EEAAO is any better.

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32 minutes ago, KC7 said:

 

To be fair, "Remember Me"'s year really wasn't that weak, and its win was fully earned. "This is Me" was a legitimate hit that charted in several countries (which "Remember Me" didn't) from a movie that was nearly as much of a hit.

This Is Me lost the Oscar but secured the bag by getting used/reworked for the Wegovy commercials.

 

 

23 minutes ago, Bob Train said:

Bruno was big, there's no doubt, but it wasn't quite as big as Let it Go, and not close to My Heart Will Go On, which was on another level. Recency bias.

Nothing is as big as My Heart Will Go On, lol. In America at least, We Don’t Talk About Bruno went #1 on the Hot 100 for multiple weeks, while Let It Go only peaked in the Top 5 (fellow 2013 nominee "Happy" was #1 for 10 weeks). Chart formulas change over time and Hot 100 success isn't the only measure of a song's popularity, of course. 

 

19 minutes ago, eeetooki said:

Isn't Oscar also about campaigning though? Somehow I feel like Downey is better at this kind of stuff.

Awards campaigning isn't allowed as long as the SAG strike is happening. It's a totally ideal environment for Cillian Murphy right now: he seems like a nice enough guy but isn't as great at the "celebrity" part of being a famous actor.

 

If there's a decent interval between the strike ending and awards voting, then RDJ will have Supporting Actor in the bag IMO. Gosling's Kenergy might be a bit annoying on the campaign trail, shades of Austin Butler's Elvis voice last year.

Edited by BoxOfficeFangrl
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1 minute ago, WorkingonaName said:

Superwog is a better story of 2nd generation immigrants then EEAAO. 

 

I'm not gonna meme, but Minari is a much better depiction of what EEAAO wants to be. It does it with restraint, without Rick and Morty humor, without the pretentious "did you know nihilism" stuff. Minari was like a time capsule to my childhood in a way that EEAAO just reminded me how annoying a lot of millennials are.

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