January 02, 2015

Tag Archives: emily blunt

“Gone Girl” by David Fincher: An August Oscar Predictions Update

Welcome to August folks. Now that we’re well into the second half of 2014 and reaching the end of the summer, it’s time for me to come to you again with some new and (hopefully) even more up to date Oscar predictions. I sincerely hope that they’ll represent another bit of a change from speculation on towards educated guesswork now that awards season is fast approaching us. We still have a long way to go in the season overall, don’t me wrong, and these new predictions will likely be wrong more than right in the end anyway, but with each passing update I’m getting attempting to figure it all out and get more and more confident in backing particular horses as opposed to other ones that I’ve mentioned previously. If that sounds a bit repetitive to you, well…that’s still kind of the nature of the beast for this. If nothing else, this endeavor continues to sort of show where I’m coming from as the months pass and the race begins to change and evolve into something truly competitive and quantifiable, especially when precursor season kicks into gear later on in 2014.
Continuing the trend I’ve had all year so far, you can see that films like Angelina Jolie’s Unbroken, Bennett Miller’s Foxcatcher, and Christopher Nolan’s Interstellar are the ones that I have pegged to be among the most nominated at this year’s ceremony, though it’s now joined by Alejandro González Iñárritu’s Birdman as well and David Fincher’s Gone Girl. Overall, my predictions are a bit different this time, in a purposefully experimental way. I’m predicting new winners in each of the major categories (and all of the technical ones as well, so it’s brand new winners all around), seeing how they look as compared to what I’ve been saying so far this year. It might not wind up particularly accurate, but until the festival season begins next month and more of these movies actually screen, we’re still guessing more often than not. It’s just a matter of trying to make the guesses more and more educated as the season progresses.
Obviously, you al know that I could go on about all of the major changes that I’ve made (basically all over the place, which translates to everywhere, at least in terms of winners) this time around, particularly with titles like MacBeth and Suite française opting to delay until next awards season, but […]

A second stab at Golden Globe predictions

I was originally planning on waiting to take another look at the Golden Globe awards and my predictions for that precursor until the summer was over, but with the festival announcements in full swing, it seems like a nice time to approach these again. Next week brings new Oscar predictions on my part (also informed by the New York and Toronto Film Festival announcements), so this is a good way to bide our time until then. There’s certainly a bit of a separation between the two, so it’s a far cry from the same sort of predictions, as you’ve probably already gathered by now. The Globes and the Oscars are very different animals, to say the least. You can argue about the actual impact that the former has on the latter, but at the very bare minimum, it influences perception, so it must be reckoned with to some degree.
Once again, the big difference you’ll see here between the Academy and the Hollywood Foreign Press Association is that they sometimes tend to go for the bigger names or the bigger productions. As such, I’ve got Angelina Jolie’s Unbroken and David Fincher’s Gone Girl ahead of Bennett Miller’s Foxcatcher here, even though I won’t have the same sort of lineup when you see my Oscar predictions at the start of August (stay tuned for that, obviously). You also potentially lose certain indie players, as you’ll see evidenced by much smaller nomination totals (or even shutouts) for Richard Linklater’s Boyhood, just as one example, though others could be movies like J.C. Chandor’s A Most Violent Year. On the flip side though, the inclusion of comedies and musicals allows longer shot work like John Carney’s Begin Again, Clint Eastwood’s Jersey Boys, Rob Marshall’s Into the Woods, and maybe even Woody Allen’s Magic in the Moonlight or Zach Braff’s Wish I Was Here to have a shot at not just contention for nods, but actual noms, as well as wins. Nominations that would have been wishful thinking with the Academy and AMPAS are very much in play with the categories that the HFPA deals in. That’s just the nature of the beast here folks.
Here now though, without any further delay on my part, are a brand spanking new set of Golden Globe predictions:
Best Picture (Drama)
1. Unbroken
2. Gone Girl
3. Foxcatcher
4. Interstellar
5. Rosewater
Best Picture (Comedy or Musical)
1. Inherent Vice
2. Into the Woods
3. Men, Women, & Children
4. Birdman […]

A first stab at Golden Globe predictions

We’re still a week and change away from a new set of Oscar predictions, so I figured today I’d mix it up and give you all my first set of Golden Globe predictions. One of the most noteworthy (if not the most important) precursors in terms of testing out winners, the Globes are the second biggest show out there, so you have to take note of them. As such, they get this early treatment in a way that not ever other precursor does.
The big difference you’ll see here between the Academy and the Hollywood Foreign Press Association is that they sometimes go for the bigger names or the bigger production. As such, I’ve moved Angelina Jolie’s Unbroken ahead of Bennett Miller’s Foxcatcher here, even though I have the opposite for Oscar. You also lose certain indies, as you’ll see by smaller nomination totals for Richard Linklater’s Boyhood, for example. On the flip side though, the inclusion of comedies and musicals allows work like John Carney’s Begin Again, Clint Eastwood’s Jersey Boys, and Rob Marshall’s Into the Woods to have a shot at not just nominations, but wins.
Here now though, without further delay, are my initial Golden Globe predictions:
Best Picture (Drama)
1. Unbroken
2. Foxcatcher
3. Big Eyes
4. Rosewater
5. Interstellar
Best Picture (Comedy or Musical)
1. Inherent Vice
2. Into the Woods
3. Men, Women, & Children
4. Begin Again
5. Jersey Boys
Best Actor (Drama)
1. Steve Carell – Foxcatcher
2. Timothy Spall – Mr. Turner
3. Gael Garcia Bernal – Rosewater
4. Ben Affleck – Gone Girl
5. Oscar Isaac – A Most Violent Year
Best Actor (Comedy or Musical)
1. Joaquin Phoenix – Inherent Vice
2. Adam Sandler – Men, Women, & Children
3. Mark Ruffalo – Begin Again
4. Seth Rogen – Neighbors
5. John Lloyd Young – Jersey Boys
Best Actress (Drama)
1. Amy Adams – Big Eyes
2. Rosamund Pike – Gone Girl
3. Michelle Williams – Suite française
4. Reese Witherspoon – Wild
5. Shailene Woodley – The Fault in Our Stars
Best Actress (Comedy or Musical)
1. Keira Knightley – Begin Again
2. Meryl Streep – Into the Woods
3. Rosemarie DeWitt – Men, Women, & Children
4. Emily Blunt – Into the Woods
5. Rose Byrne – Neighbors
Best Supporting Actor
1. Mark Ruffalo – Foxcatcher
2. Christoph Waltz – Big Eyes
3. Channing Tatum – Foxcatcher
4. J.K. Simmons – Whiplash
5. Takamasa Ishihara – Unbroken
Best Supporting Actress
1. Jessica Chastain – A Most Violent Year
2. Patricia Arquette – Boyhood
3. Jennifer Garner – Men, Women, & Children
4. Laura Dern – The Fault in Our Stars
5. Jena Malone – Inherent […]

Amy Adams: 2015 Best Actress contenders

As you folks all know full well by now, it’s one thing to read my Academy Award predictions at this point in the year in order to see what folks like myself think will happen, but it’s another thing entirely to actually know something about who and what will be in contention for nominations. To help out in that regard, at least somewhat, I’m running down some of the major contenders in each Oscar category in order to prep you all for the season to come. Basically, the format will have me saying a few words about what/who I feel are the top tier contenders right now in said categories, along with a longer list afterwards of many of the other hopefuls that the Academy might take a shine to. Consider this a sort of before the awards season cheat sheet to have in your back pocket.
Today I’m continuing with another of the biggest categories of them all…this time it’s Best Actress.
Here are the ten lovely ladies that I have in play for Best Actress, with the top five cracking the lineup at this point:
1. Amy Adams (Big Eyes) – I don’t know that there’s an actress who more clearly seems to be next in line for an Oscar win than Adams. She probably came the closest in her career so far last year with American Hustle, so she’s basically the de facto number one right now. The material is right up the Academy’s alley, early word is strong, and the timing is right. Everything is set up for Adams to almost steamroll through the season, so stay tuned to see if she actually does!
2. Jessica Chastain (The Disappearance of Eleanor Rigby: Them) – In a rather short span of time, Chastain has become basically an awards mainstay. Just about every project she joins is labeled a contender and she’s got a pretty solid batting average so far, in terms of nominations at least. She’s beginning to seem due for a win, and it’ll likely happen sooner rather than later. This project is very ambitious and could wind up staying under the Academy’s radar, but if they see it, she most likely will get nominated once again.
3. Michelle Williams (Suite française) – Another overdue actress, Williams always seems to be close to an Academy Award win before someone else winds up becoming the flavor of the season. That could again […]

“Looper” blends film noir with twisty sci-fi; Our review: TORONTO ’12

By Sean O’Connell
Hollywoodnews.com: It’s an age-old question: If you could travel through time and murder Adolph Hitler – possibly preventing the dictator’s atrocities – would you have the nerve to complete the deed?
That moral dilemma is but one of the many, many open-ended questions noodled over by writer-director Rian Johnson in the fuzzy (to borrow one of its own terms) time-travel thriller “Looper.” The movie opens this year’s Toronto International Film Festival by reuniting Johnson with his “Brick” lead Joseph Gordon-Levitt. And while the collaborators maintain the shadowy, malicious air of the crime noir genre – which they perfected back in 2005 – they shift gears and embrace a whole new field: Futuristic science-fiction.
The year, to be exact, is 2044. Time travel exists, but it’s highly illegal and only available to underground criminal syndicates of the 2070s. In the future, we’re told, it’s impossible for mobsters to properly dispose of a murdered victim. So instead of offing a rival in 2074, the forward-thinking criminals transport their targets back in time, where Loopers like Joe (Gordon-Levitt) pull the trigger.
Before you have too much time to process the moral complications of men who earn dangerous livings murdering mysterious individuals as a career, one of Joe’s colleagues, Seth (a nervous Paul Dano), comes knocking on his door late at night. It appears Seth’s latest target was the future version of himself, and instead of offing his victim (or “closing your loop”), Seth let him escape (of “let his loop run”).
Bad news for Seth. And some disturbing foreshadowing for Joe.
As you likely already know if you’d paid any attention to “Looper,” Gordon-Levitt will have to contend with the future version of his own character, played by Bruce Willis. And it needs to be said that JGL does a fantastic Willis impersonation. He gets the seasoned actors shruggish mannerisms, his lackadaisical whisper of dialogue delivery, and his devil-may-care, don’t-give-a-shit weariness that Willis has brought to so many roles. Johnson gives his leading men a scene in a diner where they sit across from each other and try to hash out what they know. It’s an important, info-laden conversation that tries to explain the dense, convoluted science of “Looper,” and the men don’t forget to have some fun with the iconic moment.
It’s in this conversation, however, that Willis’ future-version of Joe tries to emphasize that the time-travel conundrums presented by Johnson’s […]

2012 TORONTO INTERNATIONAL FILM FESTIVAL OPENS WITH FUTURISTIC ACTION THRILLER LOOPER

HollywoodNews.com: The Toronto International Film Festival® opens September 6 with the world premiere Gala Presentation of Looper – filmmaker Rian Johnson’s time-bending and mind-bending action thriller. “Rian Johnson is a film auteur known for combining different genres to give his projects an original spin,” said Piers Handling, Director and CEO of TIFF. “We’re thrilled to have Looper open the Festival.” “I saw Rian’s debut feature Brick at the Sundance festival and was impressed by his ability to engage both the mind and the heart,” said Cameron Bailey, Artistic Director, Toronto International Film Festival. “We were fortunate enough to premiere his follow-up film The Brothers Bloom. Now, with Looper, Rian has taken his filmmaking to a new level, and we can’t wait to present it to the Toronto audience in the most prestigious platform we can offer. This is a new kind of Opening Night: an exciting, thinking-person’s action film from a director who really understands genre.”
In TriStar Pictures, FilmDistrict, and Endgame Entertainment’s Looper, time travel will be invented – but it will be illegal and only available on the black market. When the mob wants to get rid of someone, they will send their target 30 years into the past, where a “looper” – a hired gun, like Joe (Joseph Gordon-Levitt) – is waiting to mop up. Joe is getting rich and life is good… until the day the mob decides to “close the loop,” sending back Joe’s future self (Bruce Willis) for assassination. The film is written and directed by Rian Johnson and also stars Emily Blunt, Paul Dano, Noah Segan, Piper Perabo, and Jeff Daniels. Ram Bergman and James D. Stern produce. The executive producers are Douglas E. Hansen, Julie Goldstein, Peter Schlessel, Joseph Gordon-Levitt and Dan Mintz. The film will be distributed in Canada by Alliance Films.
About TIFF TIFF is a charitable cultural organization whose mission is to transform the way people see the world through film. An international leader in film culture, TIFF projects include the annual Toronto International Film Festival in September; TIFF Bell Lightbox, which features five cinemas, major exhibitions, and learning and entertainment facilities; and innovative national distribution program Film Circuit. The organization generates an annual economic impact of $170 million CAD. TIFF Bell Lightbox is generously supported by contributors including Founding Sponsor Bell, the Province of Ontario, the Government of Canada, the City of Toronto, the Reitman family (Ivan Reitman, Agi Mandel […]

Jason Segel’s new film doesn’t measure up at box office

HollywoodNews.com: Jason Segel and Emily Blunt were recently promoting their new film, ‘The Five-Year Engagement,’ but it seems the promotions just didn’t work.
The film ended up not doing so well this weekend at the box office for its first weekend in theaters, states UsMagazine.com. The film reportedly brought in only $11.2 million which put it in fifth place overall.
‘Think Like a Man’ ended up in first place for the second week as it brought in about $18 million.
What do you think about the standings?
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Jason Segel talks having to lose weight for latest role

HollywoodNews.com: While many actresses in Hollywood feel pressure to lose weight for certain roles, it seems that they are no longer the only ones.
Jason Segel recently opened up about having to lose weight for his role in ‘The Five-Year Engagement,’ states UsMagazine.com. “I was told that it had to be conceivable that Emily Blunt would ever choose me to be her husband. Which is fair,” Segel said about the requirement.
He reportedly ended up losing about 35 pounds for the role.
What do you think about him being required to lose weight?
Follow Hollywood News on Twitter for up-to-date news information.
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Image by PR Photos

Jason Segel, Emily Blunt opening Tribeca with “The Five-Year Engagement”

By Sean O’Connell
Hollywoodnews.com: The Tribeca Film Festival (TFF) and Universal Pictures today announced that “The Five-Year Engagement” will open the 2012 Tribeca Film Festival, presented by American Express.
Director/writer/producer Nicholas Stoller and writer/star Jason Segel (“Forgetting Sarah Marshall”) reteam for the irreverent comedy, which also stars Emily Blunt, Rhys Ifans, Chris Pratt and Alison Brie.
The premiere will take place on Wednesday, April 18, and the Festival will run through April 29.
Here’s a plot synopsis, from the release:
Beginning where most romantic comedies end, “The Five-Year Engagement” looks at what happens when an engaged couple (Segel and Blunt) keeps getting tripped up on the long walk down the aisle. The film, also produced by Judd Apatow (“Knocked Up,” “The 40-Year-Old Virgin”) and Rodney Rothman (“Get Him to the Greek”), was written by Segel and Stoller. It opens on April 27.
“The Tribeca Film Festival has always celebrated the power of creative collaboration, and there is no better example of that than The Five-Year Engagement,” said Jane Rosenthal, co-founder of the Tribeca Film Festival. “We are so pleased to join with Universal Pictures to bring the wit and energy of this hilarious and affecting film to Tribeca as we kick off our 11th edition.”
“When Jason and I met during the production of Undeclared, we couldn’t have imagined that one day we would write a comedy that would open such a prestigious film festival as Tribeca,” said Stoller. “We are so honored that the festival organizers have given us this platform to premiere the film. To be honest, this is all just a ploy to stand on top of a building with Robert De Niro and look out over New York City at dusk.”
The 2012 Tribeca Film Festival will announce its feature film slate on March 6 and 8, 2012.
Hollywood News on Twitter for up-to-date news information.
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This Week In Movies By Pete Hammond

By Pete Hammond
hollywoodnews.com: That rarity of rarities, a new animated film that isn’t in 3D still managed to top the box office, but with an estimated $38 million Johnny Depp’s Rango probably could have done a whole lot better even though it is the top opening of 2011 so far.
Compared with the $119 million haul for Depp’s Alice In Wonderland on this same weekend last year, the boxoffice was down over 30% and the depth of Depp-appeal took a tumble. Still critics loved the movie (maybe that’s the kiss of death) giving the western spoof a whopping 88% fresh rating at Rotten Tomatoes but Friday night audiences didn’t agree , giving it only a C+ Cinemascore ranking, unusually low for a family oriented ‘toon and that doesn’t bode well for all-important word of mouth, particularly with direct competition from Disney and Mars Needs Moms coming on Rango’s second weekend.
Part of the problem for Rango,which Roger Ebert labeled “ a miracle of a movie” may be that it is too hip for the room, full of western and movie references its target family audience might not get. Director Gore Verbinski has essentially made a ‘toon that’s likely to have more hipster adult appeal than for your average kid. Still it’s sure to be a contender for next year’s animated Oscar and it has certainly put Paramount squarely in the animation business beyond their distribution deal with Dreamworks which will offer a Kung Fu Panda sequel in May and a Shrek spin off , Puss In Boots with Antonio Banderas later this year.
Meanwhile Depp fans will look ahead to a 4th Pirates of the Caribbean sequel, On Stranger Tides for release on May 20th, a sure-fire summer blockbuster.
Meanwhile Universal continues in the Matt Damon business with The Adjustment Bureau, a twisty romantic thriller in which he stars with Emily Blunt and which was bumped from its original Fall date to March. Critics liked this one too with an overall 69% RT Fresh rating while audiences ,mostly on the adult side, give it a solid B. With an estimated $20 million it exceeded studio expectations and looks to be a solid mid-range older-skewing hit. Damon and Universal have had a hit/miss relationship. The Jason Bourne trilogy scored big numbers , […]

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