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Post by DeepArcher on Aug 29, 2019 16:12:17 GMT
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Post by DeepArcher on Aug 29, 2019 16:13:03 GMT
Interesting takeaway here: Netflix's marketing is not associating McCarten's name with BH, despite it being his most popular film by far...
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Post by Martin Stett on Aug 29, 2019 16:20:08 GMT
I'm not into Anthony McCarten, but this is a pretty good trailer. I'm intrigued, at least. That said, I don't have Netflix.
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Post by TerryMontana on Aug 29, 2019 16:25:38 GMT
I love it even without having seen it....
Just give Hopkins his Oscar!!
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Post by DeepArcher on Aug 29, 2019 16:33:21 GMT
I love it even without having seen it.... Just give Hopkins his Oscar!! Yeah... I know I had made a thread awhile back predicting Pryce to win based solely on the McCarten curse good luck charm but now I'm thinking it's Hopkins, he's more of a name and the one that Netflix seems to want to push, they'll probably put him lead and Pryce supporting (despite being co-leads in reality, surely) ... anywho I'm saying Hopkins is our frontrunner for now. He's had a nice resurgence lately and I think there's certainly enough love for him to make him a two-time winner.
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Post by pacinoyes on Aug 29, 2019 16:39:40 GMT
This must be a pretty crappy week for Best Actor guessing people because at least according to Twitter (yeah I know) Driver takes a back seat to a 0 time Oscar nominee - if that's true, he's not winning Actor - and this appears far too delicate to contend for anything Oscar wise. Now I could be wrong heck watch Hopkins/Pryce both win - but it appears lacking heft.
Now, having said that, I love anything having to do with this subject because the world is a Godless mess (not kidding, it is) - but I'm not seeing the dramatic acting punch that gets Oscar wins.......maybe I'm wrong and I am still seeing good acting here and the patented Anthony Hopkins pause/hesitation - maybe the best at that "move" if you can reduce part of an acting style to a word like "move" like that......... which I really shouldn't.
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Post by Tommen_Saperstein on Aug 29, 2019 17:56:14 GMT
looks very interesting, and I love that last line and Hopkins' performance of it. "I'd like to see my correction." and then that impish half-hidden smile behind closed fist. I see some Hannibal Lecter in there. I tend to love these films about ideological clash. It means we're going to be in for a very talky chamber piece so count me in.
I think it's clearly not going to have wide appeal though, for that reason and others (the niche subject, two old men as leads, the talkiness). I definitely see Hopkins and maybe Pryce being strong contenders (Hopkins in lead by the look of this trailer, Pryce probably in supporting) but if they do get nominated expect them to consistently be in last place in the popular Oscar polls on Variety or Entertainment or whatnot, like Dafoe tended to be last year, simply by virtue of not being seen. We've talked a lot about how McCarten's scripts have nabbed acting wins yes, but this is going to be more niche and less widely-seen/celebrated than any of those efforts.
Furthermore, unlike Theory of Everything / Darkest Hour / Bohemian Rhapsody, this doesn't look like a BP contender. Maybe a screenplay nod for McCarten (hoping this will be his first with depth) but no directing and probably no best picture, let alone any techs. And Netflix already has so much on its plate to push this thing for anything other than the acting. The strengths of the performances can transcend that and take on a life/narrative of their own, but it's going to be an uphill battle.
Regardless of its chances, I'm definitely intrigued and ready for a Hopkins comeback.
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morton
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Post by morton on Aug 29, 2019 18:10:50 GMT
looks very interesting, and I love that last line and Hopkins' performance of it. "I'd like to see my correction." and then that impish half-hidden smile behind closed fist. I see some Hannibal Lecter in there. I tend to love these films about ideological clash. It means we're going to be in for a very talky chamber piece so count me in. I think it's clearly not going to have wide appeal though, for that reason and others (the niche subject, two old men as leads, the talkiness). I definitely see Hopkins and maybe Pryce being strong contenders (Hopkins in lead by the look of this trailer, Pryce probably in supporting) but if they do get nominated expect them to consistently be in last place in the popular Oscar polls on Variety or Entertainment or whatnot, like Dafoe tended to be last year, simply by virtue of not being seen. We've talked a lot about how McCarten's scripts have nabbed acting wins yes, but this is going to be more niche and less widely-seen/celebrated than any of those efforts. Furthermore, unlike Theory of Everything / Darkest Hour / Bohemian Rhapsody, this doesn't look like a BP contender. Maybe a screenplay nod for McCarten (hoping this will be his first with depth) but no directing and probably no best picture, let alone any techs. And Netflix already has so much on its plate to push this thing for anything other than the acting. The strengths of the performances can transcend that and take on a life/narrative of their own, but it's going to be an uphill battle. Regardless of its chances, I'm definitely intrigued and ready for a Hopkins comeback. Yes to everything you've said here. I think it looks really interesting, and I agree now it seems like Hopkins will probably go lead and Pryce Supporting. Both could definitely make it in, but I don't think either will have enough to win because of the reasons you said.
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Post by therealcomicman117 on Aug 29, 2019 18:45:04 GMT
looks very interesting, and I love that last line and Hopkins' performance of it. "I'd like to see my correction." and then that impish half-hidden smile behind closed fist. I see some Hannibal Lecter in there. I tend to love these films about ideological clash. It means we're going to be in for a very talky chamber piece so count me in. I think it's clearly not going to have wide appeal though, for that reason and others (the niche subject, two old men as leads, the talkiness). I definitely see Hopkins and maybe Pryce being strong contenders (Hopkins in lead by the look of this trailer, Pryce probably in supporting) but if they do get nominated expect them to consistently be in last place in the popular Oscar polls on Variety or Entertainment or whatnot, like Dafoe tended to be last year, simply by virtue of not being seen. We've talked a lot about how McCarten's scripts have nabbed acting wins yes, but this is going to be more niche and less widely-seen/celebrated than any of those efforts. Furthermore, unlike Theory of Everything / Darkest Hour / Bohemian Rhapsody, this doesn't look like a BP contender. Maybe a screenplay nod for McCarten (hoping this will be his first with depth) but no directing and probably no best picture, let alone any techs. And Netflix already has so much on its plate to push this thing for anything other than the acting. The strengths of the performances can transcend that and take on a life/narrative of their own, but it's going to be an uphill battle. Regardless of its chances, I'm definitely intrigued and ready for a Hopkins comeback. Yes to everything you've said here. I think it looks really interesting, and I agree now it seems like Hopkins will probably go lead and Pryce Supporting. Both could definitely make it in, but I don't think either will have enough to win because of the reasons you said. Yeah, I just watched the trailer and it looks pretty good. I just don't think it has enough "gas" to get any major nominations. Netflix already has enough films to promote as is, and while Hopkins looks great (he's clearly lead), he hasn't been nominated since 1997 (1998), so I have my doubts. Plus, like any film, this films award chances will depend largely on reviews.
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jakob
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Post by jakob on Aug 29, 2019 21:07:57 GMT
Even though I definitely don’t see Pryce happening, although Hopkins maybe, I don’t know why I’m finding myself a lot more into this film than I was before. Maybe it was McCarten that I found to be unexciting, but that was a damn good trailer. It just looks beautifully muted and quietly intriguing.
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Post by TerryMontana on Aug 29, 2019 21:41:56 GMT
Do we know the duration of the film?
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Javi
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Post by Javi on Aug 29, 2019 23:04:15 GMT
This looks fascinating tbh. Playful theological discourse, what seem like terrific perfs by Hopkins & Pryce and a potential return to form for Meirelles. The great Mercedes Sosa singing in the background. Vivid footage. Could be the surprise of the year if done right.
Not sure I expect any Oscar noms given the subject but who cares?
Bring it on!!
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Post by theycallmemrfish on Aug 29, 2019 23:25:01 GMT
They lost me at "From the writer of..."
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Post by stephen on Aug 29, 2019 23:26:02 GMT
They lost me at "From the writer of..." He wrote BH, though.
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Post by theycallmemrfish on Aug 29, 2019 23:36:49 GMT
They lost me at "From the writer of..." He wrote BH, though. Ah, but they didn't mention that beautiful piece of work. Loopholed.
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Post by hugobolso on Sept 3, 2019 18:59:56 GMT
Why 2 Brittish actors?
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AKenjiB
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Post by AKenjiB on Sept 3, 2019 21:57:21 GMT
Hmm I hope the film doesn’t romanticize Pope Francis, but otherwise it looks...decent. Hopkins looks pretty solid and there could be some interesting dialogue exchanges. I’m not religious at all but I do find religion fascinating so maybe I’ll like it but I wouldn’t say the trailer blew me away.
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Javi
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Post by Javi on Sept 3, 2019 22:35:38 GMT
Shows you the hypocrisy behind most of these casting "controversies". The Latino Pope (an Argentine no less! ) played by a British actor and no one could care less. I support this casting btw (though Argentina has brilliant actors that could pull this off in English) - I believe in casting the actor best suited for the role period (no matter where they're from) and Pryce will be great and it's an English-language film after all, this isn't non-fiction so it makes sense in context. But it just goes to show how these controversies are manufactured and a few get to decide which matter and which don't.
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Post by TerryMontana on Sept 4, 2019 8:52:23 GMT
Hopkins and Pryce exchanging dialogue written by McCarten!!!!
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Lubezki
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Post by Lubezki on Nov 5, 2019 15:31:35 GMT
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Post by TerryMontana on Nov 5, 2019 18:10:15 GMT
Is it official Hopkins will be considered for the supporting category? Because if that's the case, he has a very strong chance for scoring a nod. (12/12 theatrical release in my country! )
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Post by Tommen_Saperstein on Nov 6, 2019 1:19:21 GMT
McCarten turning over a new leaf.
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Zeb31
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Post by Zeb31 on Nov 6, 2019 1:56:38 GMT
So, I attended a gala screening of this at the São Paulo International Film Festival with Fernando Meirelles in the audience (sitting just 7 rows away from me, which was insane), and in his brief speech before it played he thanked his editor Fernando Stutz, who he casually let slip rewrote the script.
I don't know at which point that rewrite happened because a lot of this still screams McCarten (there's one scene in the last 15 minutes that's basically a remake of the subway bit in Darkest Hour), but I do wonder how much of the praise for the writing and the dialogue should be going to Stutz instead.
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Deleted
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Post by Deleted on Nov 6, 2019 1:59:06 GMT
So, I attended a screening of this at the São Paulo International Film Festival with Fernando Meirelles in the audience (sitting just 7 rows away from me, which was insane), and when presenting the film to the audience he thanked his editor Fernando Stutz, who Meirelles casually let slip rewrote the script. I don't know at which point that rewrite happened because a lot of this still screams McCarten (there's one scene in the last 15 minutes that's basically a remake of the subway bit in Darkest Hour), but I do wonder how much of the praise for the writing and the dialogue should be going to Stutz instead. Did you like it?
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Zeb31
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Post by Zeb31 on Nov 6, 2019 2:30:48 GMT
It's okay. My audience went nuts for it; there was laughter throughout and I heard lots of crying in the final stretch, when things take a decidedly dramatic turn. I can't quite agree with them or the critical raves because the film falls into many of the traps I feared it would going into it: it never really holds any of its characters accountable for anything, never challenges the audience into questioning their allegiance to these people and the institution they belong to, and never takes a particularly deep look into the crimes of the Church and its leaders. It's very present-day Disney in the way it approaches all of its thorniest themes from a carefully calculated distance, so as not to offend anybody or rock the boat too much. It argues that it's not the system itself that's rotten, just a few bad apples, and that there's nothing to be questioned here because the times they are a-changin' and we have a cool pope now who's very woke and very 21st century. Which, I mean, fuck you. With that said, it's surprisingly watchable as far as safe awards bait goes, and funnier than I expected. A lesser director might've made this a slog to get through, but Meirelles' very dynamic work keeps things moving at a pretty quick pace, with editing and cinematography that's often reminiscent of Paul Greengrass's docu style (albeit a much cleaner, less disorienting version of that). And then there's Pryce and Hopkins, who are a delight to watch even if a lot of the material they have to work with is essentially summed up as "two popes chilling in the Vatican five feet apart cause they're not gay". Both turn in finely calibrated and committed work, and the film really comes alive when it's just the two of them firing dialogue (which may or may not be McCarten's) at each other for minutes on end. So yeah. It's diplomatic to a fault, does nothing we haven't seen many many times before, and Meirelles' sledgehammer plea for unity and compassion within the safe confines of the status quo probably won't resonate as strongly with this board as it will with the general audiences who'll no doubt continue to eat this right up once it hits Netflix, but it's nonetheless elevated and made reasonably compelling by mostly sharp directing and two very good lead performances. It's fine.
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