2019 Cinema Audio Society Awards nominations: Oscar frontrunner ‘A Star is Born’ plus ‘Bohemian Rhapsody,’ ‘First Man’ …

2019 Cinema Audio Society Awards nominations: Oscar frontrunner ‘A Star is Born’ plus ‘Bohemian Rhapsody,’ ‘First Man’ …
The Cinema Audio Society Awards nominees for Best Sound Mixing are: “Black Panther,” “Bohemian Rhapsody,” “First Man,” “A Quiet Place” and “A Star is Born.” Historically, only about two-thirds of the Csa nominees go on to contend at the Oscars. However, we are predicting that all five of this year’s guild nominees will go on to reap Oscar bids for Best Sound Mixing. “A Star is Born” is our overwhelming frontrunner to win both awards.

Predict Oscar nominations now; change them till January 22

This year’s Cas nominees for sound mixing in an animated feature are: “The Grinch,” “The Incredibles 2,” “Isle of Dogs,” “Ralph Breaks the Internet” and “Spider-Man: Into the Spider-Verse.” And the documentary feature contenders are: “Fahrenheit 11/9,” “Free Solo,” “Quincy” and two films directed by Morgan Neville, “They’ll Love Me When I’m Dead” and “Won’t You Be My Neighbor?”

On the TV front, the
See full article at Gold Derby »

Why Do the Golden Globes Think ‘A Star Is Born’ and ‘Bohemian Rhapsody’ Are Dramas, Not Musicals?

  • The Wrap
Why Do the Golden Globes Think ‘A Star Is Born’ and ‘Bohemian Rhapsody’ Are Dramas, Not Musicals?
A Star Is Born” and “Bohemian Rhapsody” are both crammed full of musical performances, so why are they nominated for Golden Globes in the Best Motion Picture – Drama category?

After all, the two films seem like logical fits for the Globes’ Best Motion Picture – Musical or Comedy category, which in past years has included such performance-heavy nominees as “Inside Llewyn Davis,” “Walk the Line” and “Ray.”

Those films aren’t traditional musicals in the vein of, say, “Chicago” or “Dreamgirls” or this year’s “Mary Poppins Returns,” but they contain enough musical numbers that the Hollywood Foreign Press Association would no doubt have accepted them into the musical-or-comedy category, which is traditionally the less competitive of the Globes’ two best-picture categories.

Also Read: Golden Globes 2019: The Complete List of Nominees

But the filmmakers and studios behind “A Star Is Born” and “Bohemian Rhapsody” opted to submit their films to
See full article at The Wrap »

Oscar Isaac Explains Why Filming ‘X-Men: Apocalypse’ Was “Excruciating”

In the latest video of GQ's series that explores actors' most iconic roles, Oscar Isaac sat down with the publication to discuss some of his greatest hits, including Drive, Inside Llewyn Davis (which he says changed everything for him), A Most Violent Year, Ex Machina, Star Wars, Annihilation, and X-Men: Apocalypse. (You can check out Eddie Redmayne explaining his weird Jupiter Ascending voice as part of that same series here). When it comes to Bryan Singer's film, Isaac said, “Apocalypse … That was excruciating." He went on to describe: "I didn’t know when I said yes that …
See full article at Collider.com »

Oscar Isaac Finally Says It: Making ‘X-Men: Apocalypse’ Was Excruciating

Oscar Isaac Finally Says It: Making ‘X-Men: Apocalypse’ Was Excruciating
Oscar Isaac’s filmography is full of acclaimed roles in “Ex Machina,” “Inside Llewyn Davis,” and “A Most Violent Year,” but even the actor wouldn’t add “X-Men: Apocalypse” to that list. Isaac starred as the titular villain in Bryan Singer’s 2016 superhero tentpole. The film was met with poor critical notices and Isaac’s part was a mostly thankless role, requiring him to yell nonsensical monologues about power and taking over the world.

“‘Apocalypse,’ that was excruciating,” Isaac admitted during a recent video interview with GQ. “I didn’t know when I said yes that that was what was going to be happening. That I was going to be encased in glue, latex, and a 40-pound suit—that I had to wear a cooling mechanism at all times. I couldn’t move my head, ever.”

Isaac said he originally accepted a role in the “X-Men” movie because it was
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Oscar Isaac Details “Excruciating” Experience On ‘X-Men: Apocalypse’ & Why He Almost Turned Down ‘Drive’

X-Men: Apocalypse” is a pretty excruciating experience for audience members, let alone those that actually worked on the film. However, sitting through the 2-hour film in the comfort of a climate-controlled theater, as bad as it was, doesn’t compare to what star Oscar Isaac had to endure during the filming of the project.

In a new interview with GQ, Isaac goes over his most “iconic” characters, which includes his work on incredible films like “Annihilation,” “Ex Machina,” and “Inside Llewyn Davis.” However, one of his iconic roles turned out to be much worse than he bargained for when he said okay.

Continue reading Oscar Isaac Details “Excruciating” Experience On ‘X-Men: Apocalypse’ & Why He Almost Turned Down ‘Drive’ at The Playlist.
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‘Buster Scruggs’ Dp Bruno Delbonnel on Lensing Coen Brothers’ First Digital Film

  • Variety
‘Buster Scruggs’ Dp Bruno Delbonnel on Lensing Coen Brothers’ First Digital Film
Bruno Delbonnel, celebrated for his painterly work capturing the brooding WWII-era political intrigue “Darkest Hour” for Joe Wright, and for the wonder world he filmed in 2001’s “Amelie,” is known for breaking conventions. He uses the sun as backlight and works to employ deep shadows into the atmosphere of his subjects. Screening “The Ballad of Buster Scruggs,” competing at EnergaCamerimage, he says the Coen brothers’ first digitally shot film offered a host of lessons – but is no guarantee they will soon depart from their use of film.

You first worked with the Coen brothers in a collection of city stories, “Paris, je t’aime” in 2006 but not again until 2013 on “Inside Llewyn Davis.” Did they seek you out to help them express their unique, dark comic look?

No, it was just like they are shooting in Paris and they asked me to do it. Roger Deakins had mentioned my name.
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Skip Lievsay (‘Roma’ sound mixer) on Alfonso Cuaron’s ‘insane approach to making movies’ [Exclusive Video Interview]

Skip Lievsay (‘Roma’ sound mixer) on Alfonso Cuaron’s ‘insane approach to making movies’ [Exclusive Video Interview]
Since sound re-recording mixer Skip Lievsay had worked on Alfonso Cuaron‘s “Gravity” (2013) and “Y Tu Mama Tambien” (2001), he was already attuned to the director’s “insane, crazy approach to making movies.” So even though “Roma” was a smaller-scale film than the Oscar-winning sci-fi epic they last collaborated on, Lievsay knew he still had his work cut out for him. “You just know that there’s always going to be a deeply emotional main movie, with a lot of other stuff happening in the background,” he explains. Watch our exclusive video interview above.

See Why Alfonso Cuaron wasn’t emotionally ready to make ‘Roma’ until now [Watch]

Cuaron based this film on his own memories of growing up in Mexico in the 1970s, focusing the story on a maid (Yalitza Aparicio) working for a middle-class family. “We didn’t know going in what was going to happen,” Lievsay reveals. “He told
See full article at Gold Derby »

‘The Ballad of Buster Scruggs’ reviews: The Coen Brothers’ Netflix anthology is ‘funny,’ ‘mournful’ and ‘jauntily morbid’

  • Gold Derby
‘The Ballad of Buster Scruggs’ reviews: The Coen Brothers’ Netflix anthology is ‘funny,’ ‘mournful’ and ‘jauntily morbid’
Joel and Ethan Coen have tackled the Western genre before with “O Brother, Where Art Thou?” (2000) and “True Grit” (2010), but their new Netflix anthology film, “The Ballad of Buster Scruggs,” is a marked departure from those, if only in its structure. It tells six disconnected stories that range from upbeat to tragic, to both all at once. How are critics responding to this latest offbeat genre piece, which started streaming on Friday, November 9?

As of this writing the film has a MetaCritic score of 80 based on 25 reviews, all of them classified as positive, though a few of them more ambivalent than others. And the film has a Rotten Tomatoes freshness rating of 95% based on 55 reviews (only 3 classified as “rotten”). Taken together, those scores indicate a lot of love for this collection of short stories, and very little outright dislike.

Individual reviews are describing the film as “another piece of Coen
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‘The Ballad of Buster Scruggs’: Grosses Reflect Smaller Theaters and Netflix Priorities

  • Indiewire
‘The Ballad of Buster Scruggs’: Grosses Reflect Smaller Theaters and Netflix Priorities
The Coen Brothers’ “The Ballad of Buster Scruggs” opened to an estimated two-theater gross of about $6,600 Thursday, its opening day, in two Landmark theaters in New York and Los Angeles. The theaters are showing the film eight days before its Netflix streaming debut as a forerunner to Alfonso Cuaron’s “Roma,” which will have a wider theatrical release starting November 21.

Per the company’s usual practice, it’s expected that Netflix will not follow industry standards and report grosses. So here’s how we arrived at these numbers: IndieWire tracked reserved online seating sale on Landmark’s website and counted tickets sold for each showtime at each theater (both theaters had five shows). By that estimate, it appears that Los Angeles grossed around $4,000, and in New York $2,600. It also has opened with Landmark in San Francisco, but without reserved seating to gauge response.

The unusual weekday opening meant a lower gross than a Friday release.
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‘The Ballad of Buster Scruggs’: Why The Coen Brothers Finally Embraced Digital for Their First Netflix Movie

  • Indiewire
‘The Ballad of Buster Scruggs’: Why The Coen Brothers Finally Embraced Digital for Their First Netflix Movie
Joel and Ethan Coen finally went digital for their Netflix Western anthology, “The Ballad of Buster Scruggs,” but it was more out of necessity than aesthetics. Still, it’s a stunning, hyper-real achievement for cinematographer Bruno Delbonnel’s second go-round with the Coens (Oscar-nominated “Inside Llewyn Davis”), who convinced them that it was the only cost-effective way to make their movie.

“Because it was for Netflix and there was no theatrical, they wanted to try it,” said Delbonnel, “especially after hearing how fantastic digital was from so many people, including Roger Deakins, who doesn’t want to shoot on film anymore.”

Delbonnel, who shot with the Alexa Studio, invited the Coens to take a sneak peek of “Darkest Hour,” and they admired how he was able to capture light and shadow with digital tools. “But it was hard at the beginning,” he said. “They’re not used to watching dailies
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31 Scene-Stealing Animals in Movies and TV (Photos)

  • The Wrap
31 Scene-Stealing Animals in Movies and TV (Photos)
Even when a the focus of a film or TV show is on its star humans, cameos and small parts by animals often grab attention away from headlining actors. Click through to see our list of scene stealing animals:

Billy Crystal‘s character in the 1991 comedy “City Slickers” adopts a calf and names him Norman.

Once Punxsatawny Phil poked his head above ground, all hell broke loose — at least in one of the seemingly infinite amount of days Bill Murray endured in the 1993 comedy “Groundhog Day.”

The appearance of the cat in the season finale of HBO crime drama “The Night Of” was one of the most tweeted about things the night it aired.

Digby, the king charles cavalier spaniel in 2015’s “The Interview” proved to be both precious and integral to the film’s climactic end.

Yes, there’s an actual goat in the college hazing drama “Goat.” Without spoiling it,
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Oscar Isaac Makes The Move To WME

  • Deadline
Oscar Isaac Makes The Move To WME
Exclusive: Oscar Isaac, who most recently starred in and produced Chris Weitz’s MGM movie Operation Finale and is reprising the role of Poe Dameron in Star Wars: Episode IX, has signed with Wme for representation in all areas.

Isaac, who won a Golden Globe in 2016 for HBO’s Show Me a Hero, has several film projects in the works including starring in Jc Chandor’s ensemble Triple Frontier, the long-gestating dramatic thriller set up at Netflix. He also voices Gomez Addams in MGM’s upcoming animated The Addams Family movie.

Most immediately, Isaac plays Paul Gauguin opposite Willem Dafoe’s Vincent van Gogh in At Eternity’s Gate, the biopic directed by Julian Schnabel that CBS Films bows November 16.

His credits include Alex Garland’s Ex Machina in 2014, the same year he starred in Chandor’s A Most Violent Year; both films were in that season’s awards mix.
See full article at Deadline »

The Coen Brothers’ Movies Have Been Ranked Using Emoji, and It’s Brilliant

  • Indiewire
The Coen Brothers’ Movies Have Been Ranked Using Emoji, and It’s Brilliant
Ranking the Coen Brothers’ movies is nothing new, but using emoji to do it is. Actor Paul Rust has done just that on Twitter, and it’s a testament to both the cinematic siblings’ singular body of work and Rust’s emoji-choosing abilities that it’s surprisingly easy to decipher his choices. When #1 is signified by a pregnant woman and a female cop, for instance, it’s clear he’s chosen “Fargo” as his top choice; a bowling ball and pins can only mean that “The Big Lebowski” has come in at #5.

Here are all of his choices:

Coen Bros ranked

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17. The Ladykillers

— Paul Rust (@paulrust) October 20, 2018

And here they are decoded (#9 wasn’t so easy to figure out):

Fargo” “The Man Who Wasn’t There” “Barton Fink” “No Country for Old Men” “The Big Lebowski” “Blood Simple” “Raising Arizona” “The Hudsucker Proxy” “Hail, Caesar!” “A Serious Man” “Burn After Reading
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Photo, Audio: ‘A Tribute to Carey Mulligan’ at the 54th Chicago International Film Festival

Chicago – She’s a memorable talent in a different age of movie stars. British-born Carey Mulligan has shown her talent for character roles, making her film debut with “Pride & Prejudice” in 2005, breaking out a year later with “An Education,” and taking on a number of parts as an American in “Drive,” “The Great Gatsby,” “Inside Llewyn Davis” and “Mudbound.” Her latest film is “Wildlife,” directed by Paul Dano.

Carey Mulligan at Her Tribute at the 54th Chicago International Film Festival

Photo credit: Joe Arce for Starstruck Foto for HollywoodChicago.com

The 54th Chicago International Film Festival honored the actor in “A Tribute to Carey Mulligan” on Tuesday, October 16th, 2018. Besides a Red Carpet and career retrospective, the Fest screened her latest film, “Wildlife.” The 33-year-old Mulligan has split her time in 2018 between stage (“Girls & Boys” at the Royal Court), TV (“Collateral” for the BBC and Netflix) and film.

Photographer
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Carey Mulligan Looks Back at Terrible Interview Questions She’s Been Asked, Including a Mortifying One About Abortion

Carey Mulligan Looks Back at Terrible Interview Questions She’s Been Asked, Including a Mortifying One About Abortion
Carey Mulligan is tired of being asked terrible questions during interviews. The Oscar-nominated actress told Vulture she has long been forced to answer “shitty questions” when doing publicity throughout her career. The talking point came up after the interviewee mentioned a discussion from the Cannes Film Festival in which Mulligan was asked a series of softball questions (the talk went viral in a Vulture post entitled “A Roomful of Men Asked Carey Mulligan Terrible Questions at Her Women in Motion Talk”).

“Like last night, I got asked by a woman whether I still eat red Twizzlers or whatever,” Mulligan said to prove her point. “Last year I came to do press and I had a very small baby and apparently I was banging on about eating red Twizzlers to stay awake. One of her three questions was talking about Twizzlers. I was like, ‘Really? We’re going to talk about Twizzlers?
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Campfire stories by Anne-Katrin Titze

Bill Heck, Tim Blake Nelson, Zoe Kazan, Ethan Coen, and Joel Coen with 56th New York Film Festival Director and Selection Committee Chair Kent Jones Photo: Anne-Katrin Titze

Leave it to Joel and Ethan Coen to assemble a cast that includes Tim Blake Nelson, Zoe Kazan (who co-wrote Paul Dano's Wildlife a highlight of the festival), Tyne Daly, Tom Waits, James Franco, Liam Neeson, Bill Heck, and Brendan Gleeson for their latest feature The Ballad Of Buster Scruggs which is screening in the Main Slate of the 56th New York Film Festival.

Ethan Coen with Joel Coen: "We had an oxen wrangler, because we wanted the oxen to do something specific in a take." Photo: Anne-Katrin Titze

The Coen brothers worked again with longtime collaborators. This is the 16th time with composer Carter Burwell, who started out with Blood Simple, then Raising Arizona, Barton Fink, and The Hudsucker Proxy,
See full article at eyeforfilm.co.uk »

Nyff Review: ‘Her Smell’ Captures a Downward Spiral with Intoxicating Lucidity

Distinct from musicals, music biopics, and documentaries, fiction films about the challenges faced by musicians in practicing their craft have been around since the earliest days of cinema. From The Jazz Singer and A Star Is Born to recent releases such as Not Fade Away and Inside Llewyn Davis, the tribulations of musicianship have long fascinated filmmakers and audiences alike. Although these struggles are typically emphasized for dramatic purposes, rarely is the viewer subjected to the downward spiral of one of these artists for the overwhelming majority of the runtime, let alone with such intoxicating lucidity; a feat that Alex Ross Perry’s Her Smell accomplishes with flying colors.

Becky Something (Elisabeth Moss) is the frontwoman of Something She, a famous indie rock trio in the vein of iconic riot grrrl groups like Bikini Kill and Sleater-Kinney. It becomes immediately apparent that Becky has almost completely lost her grip on reality,
See full article at The Film Stage »

John Goodman to Receive The Lifetime Achievement Award at This Year’s St. Louis International Film Festival

The 27th Annual Whitaker St. Louis International Film Festival (Sliff) — held Nov. 1-11 — will honor native St. Louisan John Goodman with a Lifetime Achievement Award at a tribute program that will include a clip reel of the actor’s career highlights, a conversation betwen Goodman and John Carney of Ktrs (550 Am), and a screening of “The Big Lebowski” on the occasion of its 20th anniversary. The program will take place at 7:30 pm Friday, Nov. 2, at the Tivoli Theatre, 6350 Delmar Blvd. Tickets for the event are $25 and go on sale through the Tivoli website on Tuesday, Sept. 25.

Goodman grew up in Affton and graduated in 1975 from Missouri State University (then Southwest Missouri State) in Springfield, Mo. He soon moved to New York City to begin his acting career. On Broadway, from 1985-87, Goodman starred as Pap Finn in Roger Miller’s musical take on Mark Twain, winning a Drama Desk nomination.
See full article at WeAreMovieGeeks.com »

‘The Ballad of Buster Scruggs’ Trailer: Coen Brothers Bring Their Venice-Winning Western to Netflix

‘The Ballad of Buster Scruggs’ Trailer: Coen Brothers Bring Their Venice-Winning Western to Netflix
Joel and Ethan Coen have had tremendous success in the western genre over the last several years. Their 2007 neo-western “No Country for Old Men” won them the Oscars for best picture, best director, and best adapted screenplay, while the more traditional “True Grit” earned an impressive 10 Oscar nominations in 2011, including best picture. The brothers are returning to the genre, albeit with an anthology twist, for the upcoming “The Ballad of Buster Scruggs.”

Originally announced a limited television series, “Buster Scruggs” was revealed to be a feature film when it was confirmed as an official competition entry for the 2018 Venice Film Festival. The Western tells six different stories and features an ensemble cast that includes “O Brother, Where Art Thou?” star Tim Blake Nelson, Zoe Kazan, James Franco, Liam Neeson, and Tom Waits.

Unlike the Coen brothers’ other Western films, “Buster Scruggs” is not shot by cinematographer Roger Deakins. The filmmakers
See full article at Indiewire »
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