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Post by JangoB on Sept 17, 2020 16:48:56 GMT
That's the correct choice but it makes the road towards the win harder. I feel like he would've easily won in Supporting. Chadwick Boseman in Ma Rainy's Black Bottom suggests otherwise. A beloved dead man can be pretty tough competition. Considering how little we know about that movie, I can't really say anything about his role or chances simply because I have nothing to base it on. But on paper that definitely sounds plausible. Still, Lindo could've been your perfect Supporting winner - oversized role of tremendous magnitude.
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sirchuck23
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Post by sirchuck23 on Sept 17, 2020 17:03:24 GMT
That's the correct choice but it makes the road towards the win harder. I feel like he would've easily won in Supporting. Chadwick Boseman in Ma Rainy's Black Bottom suggests otherwise. A beloved dead man can be pretty tough competition. Honestly, at this point...I believe Boseman is winning Best Supporting Actor. Sight unseen
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Post by pupdurcs on Sept 17, 2020 17:07:00 GMT
It's the best move, because they're probably going to campaign Boseman in Supporting for Ma Rainey's Black Bottom and with the sentiment around him right now with his shocking passing they feel like he has a great shot in that category. It seems like everyone is harping on Hopkins winning for The Father right now and Lindo is the underdog but Lindo has the raves to get nominated and it'll be an interesting race. I think Lindo will get alot of critics support/awards with Hopkins starting to win the industry awards like Phoenix last year. I don't see Oldman being a factor in the race because he just won a few years ago. It's coming down to Hopkins or Lindo with Kaluuya being a dark horse sight unseen. But I'm happy is getting a Best Actor run, it's long overdue for him to get shine for his underrated career. Hopkins's raves are pretty damn near what I'd consider "undeniable" (a word that is thrown a laughably huge amount of time, but those reviews do warrant the term), so I think Netflix might be contenting themselves with getting Lindo nominated (rightfully so) in the category he belongs in, while focusing their attention on a supporting run for Boseman. I still think Lindo has a lot going for him, even in best actor. I still think Da 5 Bloods remains high in many critics estimations for the best film of the year. Critics like The Father (though there are far less reviews available) , but it seems very much more focused on the strength of Hopkins and Coleman's performances. Lindo seems to have a stronger vehicle, which usually factors in Best Actor. Lindo's reviews felt pretty undeniable as well, and his film just seems far more "zeitgeisty" and relevant to what's happining in 2020 than Hopkins. I get that Hopkins feels more "buzzy" right now because Da 5 Bloods came out months ago and feels like old news, while Hopkins film is currently getting him raves on the festival circuit, but I do think Lindo can pull off a win in Best Actor, if it comes down to him and Hopkins.
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Post by stephen on Sept 17, 2020 17:07:07 GMT
Chadwick Boseman in Ma Rainy's Black Bottom suggests otherwise. A beloved dead man can be pretty tough competition. Honestly, at this point...I believe Boseman is winning Best Supporting Actor. Sight unseen With the lack of a strong frontrunner at this stage, and with nominations looking so unbelievably scattershot that no one can even pin down who's going to be campaigned for certain ensembles (i.e. The Trial of the Chicago 7, Mank), Boseman benefits from a.) a strong role with very baity scenes that can be considered co-lead, b.) no internal competition within his film, c.) a heavy contender for another acting category to help bolster his profile, and yes, d.) his passing and the massive goodwill towards his career. Boseman really is in the pole position now on paper. He just needs for the film to be good.
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Post by stephen on Sept 17, 2020 17:14:10 GMT
I still think Lindo has a lot going for him, even in best actor. I still think Da 5 Bloods remains high in many critics estimations for the best film of the year. Critics like The Father (though there are far less reviews available) , but it seems very much more focused on the strength of Hopkins and Coleman's performances. Lindo seems to have a stronger vehicle, which usually factors in Best Actor. Lindo's reviews felt pretty undeniable as well, and his film just seems far more "zeitgeisty" and relevant to what's happining in 2020 than Hopkins. I get that Hopkins feels more "buzzy" right now because Da 5 Bloods came out months ago, and Hopkins film is currently getting him raves on the festival circuit, but I do think Lindo can pull off a win in Best Actor, if it comes down to him and Hopkins. The problem with Lindo has always been that his film has to overcome an insanely early release, which is exacerbated by the new stipulations laid forth for eligibility by the Academy. Early releases that sustain buzz that long are very hard to come by, and frankly, I don't think Da 5 Bloods is nearly as strong or buzzy as you seem to. Lindo has become the primary talking point about the film (as he should be), but his margin for winning is waning because successive film releases are taking up the oxygen in the room. And Hopkins's (and Colman's) reviews are dynamite, but those also extend to the film as well, which is getting strong audience notices and is in with a chance to win the TIFF audience award. The source play is insanely acclaimed and has garnered every single major theater award for its leads who have played it. And when you're throwing around "career-best" for a legend like Hopkins, backed by one of the best studios in the business? Hard to bet against that. The atmosphere around Hopkins feels very similar to how it was around Blanchett in 2013, at least where I'm sitting. For Lindo to come in with a chance to win, he needs his film to resurge, and hard. His studio would have to prioritize him and the film. But Netflix seems to be just throwing everything at the wall and seeing what sticks, and with baitier, buzzier projects in the wings like Mank, The Trial of the Chicago 7, Ma Rainey's Black Bottom and a dozen other films they snapped up, I just think Da 5 Bloods's ceiling is a Best Actor nod for Lindo and maybe one or two techs (Cinematography, Editing). Netflix just isn't going to put all their eggs in one basket, as it's clear they are desperate for maximum placements, not necessarily wins.
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Post by pupdurcs on Sept 17, 2020 17:27:50 GMT
I still think Lindo has a lot going for him, even in best actor. I still think Da 5 Bloods remains high in many critics estimations for the best film of the year. Critics like The Father (though there are far less reviews available) , but it seems very much more focused on the strength of Hopkins and Coleman's performances. Lindo seems to have a stronger vehicle, which usually factors in Best Actor. Lindo's reviews felt pretty undeniable as well, and his film just seems far more "zeitgeisty" and relevant to what's happining in 2020 than Hopkins. I get that Hopkins feels more "buzzy" right now because Da 5 Bloods came out months ago, and Hopkins film is currently getting him raves on the festival circuit, but I do think Lindo can pull off a win in Best Actor, if it comes down to him and Hopkins. The problem with Lindo has always been that his film has to overcome an insanely early release, which is exacerbated by the new stipulations laid forth for eligibility by the Academy. Early releases that sustain buzz that long are very hard to come by, and frankly, I don't think Da 5 Bloods is nearly as strong or buzzy as you seem to. Lindo has become the primary talking point about the film (as he should be), but his margin for winning is waning because successive film releases are taking up the oxygen in the room. And Hopkins's (and Colman's) reviews are dynamite, but those also extend to the film as well, which is getting strong audience notices and is in with a chance to win the TIFF audience award. The source play is insanely acclaimed and has garnered every single major theater award for its leads who have played it. And when you're throwing around "career-best" for a legend like Hopkins, backed by one of the best studios in the business? Hard to bet against that. The atmosphere around Hopkins feels very similar to how it was around Blanchett in 2013, at least where I'm sitting. For Lindo to come in with a chance to win, he needs his film to resurge, and hard. His studio would have to prioritize him and the film. But Netflix seems to be just throwing everything at the wall and seeing what sticks, and with baitier, buzzier projects in the wings like Mank, The Trial of the Chicago 7, Ma Rainey's Black Bottom and a dozen other films they snapped up, I just think Da 5 Bloods's ceiling is a Best Actor nod for Lindo and maybe one or two techs (Cinematography, Editing). Netflix just isn't going to put all their eggs in one basket, as it's clear they are desperate for maximum placements, not necessarily wins. I don't think critics are as fickle as you think, and I think Da 5 Bloods will likely see that resurgance in Critics Awards. It won every citation from critics when mid-season plaudits were handed out, and we are coming up to October and I don't neccesarily see much so far that will overtake it in critics passion. Nomadland maybe (and we don't know how much passion they will have for unreleased movies), but Da 5 Bloods in the year of Black Lives Matter feels hard for critics groups to ignore. Maybe I'm wrong, but I feel it will get more than it's fair share of Best Picture citations from critics. If critics groups reignite Da 5 Bloods buzz as feels likely, it's a whole different ballgame.
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Post by stephen on Sept 17, 2020 17:39:28 GMT
The problem with Lindo has always been that his film has to overcome an insanely early release, which is exacerbated by the new stipulations laid forth for eligibility by the Academy. Early releases that sustain buzz that long are very hard to come by, and frankly, I don't think Da 5 Bloods is nearly as strong or buzzy as you seem to. Lindo has become the primary talking point about the film (as he should be), but his margin for winning is waning because successive film releases are taking up the oxygen in the room. And Hopkins's (and Colman's) reviews are dynamite, but those also extend to the film as well, which is getting strong audience notices and is in with a chance to win the TIFF audience award. The source play is insanely acclaimed and has garnered every single major theater award for its leads who have played it. And when you're throwing around "career-best" for a legend like Hopkins, backed by one of the best studios in the business? Hard to bet against that. The atmosphere around Hopkins feels very similar to how it was around Blanchett in 2013, at least where I'm sitting. For Lindo to come in with a chance to win, he needs his film to resurge, and hard. His studio would have to prioritize him and the film. But Netflix seems to be just throwing everything at the wall and seeing what sticks, and with baitier, buzzier projects in the wings like Mank, The Trial of the Chicago 7, Ma Rainey's Black Bottom and a dozen other films they snapped up, I just think Da 5 Bloods's ceiling is a Best Actor nod for Lindo and maybe one or two techs (Cinematography, Editing). Netflix just isn't going to put all their eggs in one basket, as it's clear they are desperate for maximum placements, not necessarily wins. I don't think critics are as fickle as you think, and I think Da 5 Bloods will likely see that resurgance in Critics Awards. It won every citation from critics when mid-season plaudits were handed out, and we are coming up to October and I don't neccesarily see much so far that will overtake it in critics passion. Nomadland maybe (and we don't know how much passion they will have for unreleased movies), but Da 5 Bloods in the year of Black Lives Matter feels hard for critics groups to ignore. Maybe I'm wrong, but I feel it will get more than it's fair share of Best Picture citations from critics. If critics groups reignite Da 5 Bloods buzz as feels likely, it's a whole different ballgame. Mid-season critics awards don't mean anything when 95% of the competition hasn't been released. All it means is that Da 5 Bloods was the most-liked film up to that point (which I won't argue against, because it is). But if you wanna bring out the socio-political aspect of the season, there are a lot of films that could usurp Da 5 Bloods's narrative waiting in the wings ( One Night in Miami..., Judas and the Black Messiah, Ma Rainey's Black Bottom, The Trial of the Chicago 7, etc.). Even Nomadland deals with an equally timely issue, and it's looking more and more to be this year's critical favorite.
I'm sure Da 5 Bloods will score notices here and there (I hope it does), but I think the narrative is and always has been Delroy Lindo's performance as the main selling point, regardless of the film's other positive qualities. And now that's at risk because his main competition just bowed to juggernaut reviews, and Hopkins has more pros in his column than Lindo at this point. Lindo is gonna need a jolt to revive him, stat.
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Post by pupdurcs on Sept 17, 2020 17:47:36 GMT
I don't think critics are as fickle as you think, and I think Da 5 Bloods will likely see that resurgance in Critics Awards. It won every citation from critics when mid-season plaudits were handed out, and we are coming up to October and I don't neccesarily see much so far that will overtake it in critics passion. Nomadland maybe (and we don't know how much passion they will have for unreleased movies), but Da 5 Bloods in the year of Black Lives Matter feels hard for critics groups to ignore. Maybe I'm wrong, but I feel it will get more than it's fair share of Best Picture citations from critics. If critics groups reignite Da 5 Bloods buzz as feels likely, it's a whole different ballgame. Mid-season critics awards don't mean anything when 95% of the competition hasn't been released. All it means is that Da 5 Bloods was the most-liked film up to that point (which I won't argue against, because it is). That's not neccesarily true though. Critics often see something early, and it makes them more passionate about supporting it in Awards season than the later releases. Perfect example: Manchester By The Sea, which critics saw way before every other contender, and maintained passion for and pushed it to a Best Picture nomination and Best Actor win. I don't see Da 5 Bloods being disadvantaged with critics by having more time for them to be passionate about it. We are more fickle and think critics will like every shiny new movie more, but Da 5 Bloods is probably in a really good spot with critics, as a film overall, and with Lindo.
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sirchuck23
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Post by sirchuck23 on Sept 17, 2020 18:06:24 GMT
Mid-season critics awards don't mean anything when 95% of the competition hasn't been released. All it means is that Da 5 Bloods was the most-liked film up to that point (which I won't argue against, because it is). That's not neccesarily true though. Critics often see something early, and it makes them more passionate about supporting it in Awards season than the later releases. Perfect example: Manchester By The Sea, which critics saw way before every other contender, and maintained passion for and pushed it to a Best Picture nomination and Best Actor win. I don't see Da 5 Bloods being disadvantaged with critics by having more time for them to be passionate about it. We are more fickle and think critics will like every shiny new movie more, but Da 5 Bloods is probably in a really good spot with critics, as a film overall, and with Lindo.I believe The Father premiered at Sundance. We'll have to see how things shake out and most importantly the films that are coming out (The Trial of the Chicago 7, Ma Rainey's Black Bottom, Judas and the Black Messiah, Dune, etc.) have to be good first. I think people are jumping the gun and declaring D5B DOA other than Lindo though, its a contender for nominations for more than just Best Actor imo. Not wins perhaps, but just saying it'll just get a Best Actor nom and that's it, I don't agree with that this early still. Critics can easily bring it back into the conversation.
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Post by pupdurcs on Sept 17, 2020 18:24:41 GMT
That's not neccesarily true though. Critics often see something early, and it makes them more passionate about supporting it in Awards season than the later releases. Perfect example: Manchester By The Sea, which critics saw way before every other contender, and maintained passion for and pushed it to a Best Picture nomination and Best Actor win. I don't see Da 5 Bloods being disadvantaged with critics by having more time for them to be passionate about it. We are more fickle and think critics will like every shiny new movie more, but Da 5 Bloods is probably in a really good spot with critics, as a film overall, and with Lindo.I believe The Father premiered at Sundance. We'll have to see how things shake out and most importantly the films that are coming out (The Trial of the Chicago 7, Ma Rainey's Black Bottom, Judas and the Black Messiah, Dune, etc.) have to be good first. I think people are jumping the gun and declaring D5B DOA other than Lindo though, its a contender for nominations for more than just Best Actor imo. Not wins perhaps, but just saying it'll just get a Best Actor nom and that's it, I don't agree with that this early still. Critics can easily bring it back into the conversation. We already know Da 5 Bloods overall is much stronger with critics than The Father. As you said, it had a whole Sundance premiere, and wasn't being talked up like the film of the year. It was really mainly about Hopkins.
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Post by mhynson27 on Sept 18, 2020 2:26:14 GMT
I believe The Father premiered at Sundance. We'll have to see how things shake out and most importantly the films that are coming out (The Trial of the Chicago 7, Ma Rainey's Black Bottom, Judas and the Black Messiah, Dune, etc.) have to be good first. I think people are jumping the gun and declaring D5B DOA other than Lindo though, its a contender for nominations for more than just Best Actor imo. Not wins perhaps, but just saying it'll just get a Best Actor nom and that's it, I don't agree with that this early still. Critics can easily bring it back into the conversation. We already know Da 5 Bloods overall is much stronger with critics than The Father. As you said, it had a whole Sundance premiere, and wasn't being talked up like the film of the year. It was really mainly about Hopkins.I could be wrong but I'm pretty sure critics groups only nominate/award a film if it has actually already been released. Plus, I don't know how you can make such a blanket statement as "We already know Da 5 Bloods overall is much stronger with critics than The Father" when The Father is literally getting better reviews than Da 5 Bloods, per both RT and Metacritic. EDIT: Ah yep, was correct.
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Post by pupdurcs on Sept 18, 2020 3:35:14 GMT
We already know Da 5 Bloods overall is much stronger with critics than The Father. As you said, it had a whole Sundance premiere, and wasn't being talked up like the film of the year. It was really mainly about Hopkins.I could be wrong but I'm pretty sure critics groups only nominate/award a film if it has actually already been released. Plus, I don't know how you can make such a blanket statement as "We already know Da 5 Bloods overall is much stronger with critics than The Father" when The Father is literally getting better reviews than Da 5 Bloods, per both RT and Metacritic. EDIT: Ah yep, was correct. Using Rotten Tomatoes and Metacritic scores as "evidence" that The Father is better reviewed than Da 5 Bloods is utterly ridiculous and pointless at this stage. The Father has 22 reviews on RT. Da 5 Bloods has 275 reviews on RT. The Father has 9 reviews on Metacritic. Da 5 Bloods has 49 reviews on Metacritic. The sample size of reviews for The Father is nowhere near Da 5 Bloods, which has very high aggregate scores in spite of being reviewed by basically every outlet. The Father could easily drop several points/percent on both aggregate sites. It needs a lot more reviews still to come. We know Da 5 Bloods scores can't get lower at this stage, as everyone has reviewed it. Cannot say the same for The Father, which has a very long way to go before it's final critical scores are known. Lots of films aggregate scores look world beating when there is only a small sample. The only point I was making it that I can't recall hearing The Father being talked up as the best film of the year on it's premiere, despite a limited number of strong reviews.
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Post by mhynson27 on Sept 18, 2020 3:57:23 GMT
I could be wrong but I'm pretty sure critics groups only nominate/award a film if it has actually already been released. Plus, I don't know how you can make such a blanket statement as "We already know Da 5 Bloods overall is much stronger with critics than The Father" when The Father is literally getting better reviews than Da 5 Bloods, per both RT and Metacritic. EDIT: Ah yep, was correct. Using Rotten Tomatoes and Metacritic scores as "evidence" that The Father is better reviewed than Da 5 Bloods is utterly ridiculous and pointless at this stage. The Father has 22 reviews on RT. Da 5 Bloods has 275 reviews on RT. The Father has 9 reviews on Metacritic. Da 5 Bloods has 49 reviews on Metacritic. The sample size of reviews for The Father is nowhere near Da 5 Bloods, which has very high aggregate scores in spite of being reviewed by basically every outlet. The Father could easily drop several points/percent on both aggregate sites. It needs a lot more reviews still to come. We know Da 5 Bloods scores can't get lower at this stage, as everyone has reviewed it. Cannot say the same for The Father, which has a very long way to go before it's final critical scores are known. Lots of films aggregate scores look world beating when there is only a small sample. The only point I was making it that I can't recall hearing The Father being talked up as the best film of the year on it's premiere, despite a limited number of strong reviews. You do make a good point about the sample size and it'll be interesting to see how it all shakes out in the end but personally I still comfortably believe that The Father will do better during awards season than Da 5 Bloods. Will just have to wait and see!
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Post by Deleted on Jan 4, 2021 3:20:01 GMT
There is a great film hidden in here somewhere... Shocked Netflix didn't demand a hard edit.
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Post by mhynson27 on Jan 4, 2021 3:38:52 GMT
There is a great film hidden in here somewhere... Shocked Netflix didn't demand a hard edit. That's not how Netflix do things do, they are all about giving their filmmakers complete creative control. Especially if it is someone of the caliber of Spike Lee.
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Post by Martin Stett on Dec 7, 2021 0:59:31 GMT
Paul is the most inconsistently written cartoon of a character that I have seen in years - one moment he's all "I'm only here for Norman!" and the next he's stabbing everyone in the back, and then he's all "my son, MY SON!" and the next "I HAVE NO SON!" and it is a total shitshow joke. Poor Delroy Lindo is horrendous, but that isn't so much his fault, as nobody could have possibly saved that character. The typical Spike touches really don't work at all here, with the hyperstylization of certain scenes going completely against a setting that could and should have been ugly. His hamhanded preaching doesn't fit into a story about guys hunting for buried treasure either - the only way he can fit it in is through direct-to-the-camera preaching from Boseman (who does his best with it), but he tries to fit it in through Paul's eeeeviiiil MAGA hat wearing ass too. If you took out this aspect of his character, would it change a SINGLE thing about him? Do his right-wing politics inform his character's decisions at all, or is it just that right-wing=evil, thus he must be a greedy bastard (which we can place in opposition to our good characters with the correct political view)?
Also, who the hell did the makeup on Lindo through this movie? They sprayed his bald head with sweat droplets in every damn scene and it looks hilarious because nobody else got the same treatment. I just laughed my ass off every time he appeared because it looks like he just got out of the shower and hasn't toweled off.
I was about to say that there isn't a single thing that works about this movie, but that isn't quite true: Majors and Peters are both far better than what they're given, and I'd like to see them in a script that isn't ass.
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