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[2020] 92nd Academy Awards (OSCAR 2020) - 10 Feb 2020, 9.00 am Isnin

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Post time 28-2-2019 01:04 AM | Show all posts |Read mode
Edited by dauswq at 5-2-2020 02:06 PM

Ramai tengah kesedihan Glenn Close kalah dgn Olivia Colman utk kategori Best Actress.. ada yg kata ampas tak sepatutnya 'membenci' glenn close sampai malukan dia di mlm anugerah.. ada yg kata colman mmg deserved that award sbb lakonan dia lebih baik dr close.


Apapun, naratif overdue tak leh dipakai lagi sbb colman, rami malek, regina king ketiga2nya menang acting award utk pencalonan pertama kali. Lagi2 mahershala ali menang 2 award utk 2 pencalonan dlm 3 tahun gap.


kita bincang pulak oscar 2020 yg akan berlangsung next year..





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 Author| Post time 28-2-2019 01:08 AM | Show all posts
Best Picture:


The Goldfinch: A young New York boy (Stranger Things’ Finn Wolfhard) is adopted by a wealthy Upper East Side family after his mother is killed in a bombing at the Metropolitan Museum of Art. Based on the novel by Donna Tartt.

The Irishman: A mob hitman (Robert De Niro, reuniting with Martin Scorsese) recalls his possible involvement with the slaying of Jimmy Hoffa during a career of crime that spans decades.

Ford v. Ferrari: The true story of the battle between, you guessed it, Ford and Ferrari and their excellent engineers/drivers (Christian Bale and Matt Damon) to win Le Mans, the world’s oldest active sports car race, in 1966.

Little Women: Based on the classic Louisa May Alcott novel, four sisters (Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen) come of age in America in the aftermath of the Civil War.

The Laundromat: A group of journalists (led by Meryl Streep) unearth more than 11 million files that connect the world’s most powerful political figures to secret banking accounts to avoid taxes.

Fair and Balanced:
Several women (including Charlize Theron, Margot Robbie and Nicole Kidman) set out to expose Fox News boss Roger Ailes (John Lithgow) and the toxic male culture he presided over at the network.

Once Upon a Time in Hollywood: In the latest from Quentin Tarantino, a TV actor past his prime (Leonardo DiCaprio) and his needy stunt double (Brad Pitt) attempt to achieve fame and fortune during the final years of Hollywood’s Golden Age in 1969 Los Angeles.

Queen & Slim: A couple’s (Daniel Kaluuya, Jodie Turner-Smith) first date takes an unexpected turn when a police officer pulls them over.

A Beautiful Day in the Neighborhood: After a jaded magazine writer (Matthew Rhys) is assigned a profile of Fred Rogers (Tom Hanks), he overcomes his skepticism, learning about empathy, kindness and decency from America’s most beloved neighbor.

The Winner: Isn’t it about time Quentin Tarantino claimed his very first Best Picture award (we’re still sorry, Pulp Fiction)? Its jaw-dropping cast and ego-stroking Tinseltown themes give Once Upon a Time in Hollywood arguably the highest ceiling of any contender this year. Bonus points for weaving in another cultural obsession: the Manson Family.


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 Author| Post time 28-2-2019 01:09 AM | Show all posts
Best DirectorPossible Nominees:
Quentin Tarantino (Once Upon a Time in Hollywood)
Martin Scorsese (The Irishman)
Greta Gerwig (Little Women)
Marielle Heller (A Beautiful Day in the Neighborhood)
Melina Matsoukas (Queen & Slim)

The Winner: We’re going to predict that Greta Gerwig follows up her impressive directorial debut, Lady Bird, with a mesmerizing remake of an enduring classic. The source material, originally published in the 1800s, is a historical contribution to American literature and has since been adapted six times for the big screen (and four times for television). People can’t get enough of this tale.

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 Author| Post time 28-2-2019 01:15 AM | Show all posts
Edited by dauswq at 28-2-2019 01:17 AM

Best Actress
Possible Nominees:
Amy Adams (The Woman in the Window) - 6 Oscar nominations
Alfre Woodard(Clemency) - 1 Oscar nomination
Cynthia Erivo (Harriet)
Natalie Portman (Lucy in the Sky) - 3 Oscar nomination, 1 Win
Viola Davis (I Almost Forgot About You) - 3 Oscar nominations, 1 Win
Cate Blanchett (Lucy and Desi) - 6 Oscar nominations, 2 Win


The Winner: After a successful 2018 (Bad Times at the El Royale, Widows), the ridiculously talented Cynthia Erivo is one Oscar away from earning her EGOT. This could be the moment she makes the leap to full-fledged leading woman. As 90 years of Oscars have shown us, the Academy loves a good biopic, and what greater figure to portray than the heroic abolitionist and political activist Harriet Tubman?

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 Author| Post time 28-2-2019 01:17 AM | Show all posts
Best Actor
Possible Nominees:
Tom Hanks (A Beautiful Day in the Neighborhood)
Leonardo DiCaprio (Once Upon a Time in Hollywood)
Timothée Chalamet (The King)
Daniel Kaluuya (Queen & Slim)
Ansel Elgort (The Goldfinch)

The Winner: Did you know Tom Hanks hasn’t been nominated for an Oscar since Cast Away in 2001? In a pitch-perfect pairing of actor and character, the endearing veteran could very well take one home next year for his feel-good performance as Mr. Rogers.

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 Author| Post time 28-2-2019 01:20 AM | Show all posts
Best Supporting ActressPossible Nominees:
Cate Blanchett (Where’d You Go, Bernadette?) - 6 Nominations , 2 Win
Margot Robbie (Once Upon A Time in Hollywood) - 1 Oscar nomination
Meryl Streep (Little Women)  - 21 Oscar nominations , 3 Win
Charlize Theron (Fair and Balanced) - 2 Oscar nominations, 1 Win
Saoirse Ronan (Little Women) - 3 Oscar nominations

The Winner: The only actor ever to win an Academy Award for a turn in a Tarantino film is Christoph Waltz. Next year, Margot Robbie could join the list in her highly anticipated role as slain 1960s actress and model Sharon Tate.





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 Author| Post time 28-2-2019 01:21 AM | Show all posts
Best Supporting Actor
Possible Nominees:
Christian Bale (Ford v. Ferrari)
John Lithgow (Fair and Balanced)
Willem Dafoe (The Last Thing He Wanted)
Al Pacino (The Irishman)
Jeffrey Wright (The Goldfinch)

The Winner: With four Oscar nominations and no wins over a celebrated career, Willem Dafoe is long overdue for a golden statue. Perhaps the fifth time is the charm. Directed by the hyped Dee Rees (Mudbound), The Last Thing He Wanted follows a journalist (Anne Hathaway) who quits her job to become an arms dealer for a covert government agency. Dafoe will play her father, who organizes shipments of arms to Central American countries.

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 Author| Post time 28-2-2019 01:25 AM | Show all posts
The early favourites: who might be winning Oscars in 2020?

Olivia Colman, Rami Malek and Alfonso Cuarón have just taken top honours at this year’s Academy awards but the next ceremony is a mere 12 months away





And the Oscar might go to ... Daniel Kaluuya, Natalie Portman and Quentin Tarantino.Photograph: Getty ImagesWhile there’s widespread relief from many to be saying goodbye to yet another extended awards season, for others, it means something else: the start of the next. Festival slots are being negotiated, release dates are being discussed, campaigns are being plotted and, so inevitably, staggeringly, perhaps stupidly, early predictions are being made.
                                                                                                        
                                                                                        [url=]Oscars save shocks for last with big wins for Green Book and Olivia Colman[/url]                                            
                                                                 




               
                            Read more            
        
            

So take these 10 potential contenders with a pinch of salt unless of course they turn out to be entirely accurate then instead, look back on them, and the Guardian at large, in stunned awe.
Tom Hanks



It has been 18 years since Hanks received his last Oscar nomination, after a decade of almost non-stop adoration from the Academy and before a string of perceived snubs for his work in Captain Phillips, Bridge of Spies and The Post. Next year sees him campaigning for a comeback as children’s television staple Mister Rogers in A Beautiful Day in the Neighborhood, a drama that acts as a narrative sibling to last year’s surprise hit documentary Won’t You Be My Neighbor? While the sugary combination of actor and character might already be giving you toothache, the film’s director Marielle Heller, who brought complex and often cruel characters to the screen in Diary of a Teenage Girl and Can You Ever Forgive Me?, suggests something far spikier.

Quentin Tarantino



It speaks to Tarantino’s standing with the Academy that The Hateful Eight was seen as a blip, despite winning one Oscar and being nominated for two others. Before the snowy Agatha Christie-esque exercise in self-indulgence, he’d had a brief streak with Inglourious Basterds and Django Unchained nabbing 13 nominations between them, and it’s a safe bet his next film will see him back in the main races once again. As well as a soft spot for Tarantino, the Academy has an even softer one for films about films and his 60s-set Once Upon a Time in Hollywood reads like Academy catnip. As well as the LA setting, there’s a stacked cast (including Brad Pitt, Leonardo DiCaprio, Margot Robbie and Al Pacino) and a storyline that brings in everyone from Steve McQueen to Sharon Tate.

Natalie Portman



Ever since she was named best actress for Black Swan, Portman has taken the unconventional route of mostly avoiding obvious Oscar-bait roles. She’s cropped up in the Thor franchise, slummed it in comedies like No Strings Attached and Your Highness, stared into space for Terrence Malick in Knight of Cups and Song to Song and hunted indefinable aggressors in Annihilation. Her one nomination since, for playing Jackie Kennedy, was in a strange, complicated and provocative drama that defied stuffy biopic formula, and last year she was put forward for Vox Lux, a similarly curious and unusual film. Her next project sounds like a surer thing for awards attention, playing a woman whose affair with a fellow astronaut sends her on a downward spiral. Although with Fargo and Legion’s Noah Hawley in the director’s chair, expect the unexpected.

Daniel Kaluuya

After his powerful performance in Get Out snagged him a best actor nomination (and, in my mind, should have led to him taking home the Oscar), Daniel Kaluuya followed it with a banner year as one of the SAG-winning Black Panther ensemble and arguably the MVP of Steve McQueen’s Widows, his menacing turn deserving of even more awards attention. In 2020, he could have a strong chance with Queen & Slim, the directorial debut from Melina Matsoukas, acclaimed director of many a music video as well as episodes of Insecure and Master of None. The prescient tale, written by Lena Waithe, sees a black couple’s first date go wrong when they shoot a cop in self-defence before going on the run.

Gary Oldman

Gary Oldman’s post-Oscar career has provided him with hours even darker than the one that got him there with critically loathed sci-fi thriller Tau and bland Gerard Butler actioner Hunter Killer to his name. In-between some of the schlockier films he has on the horizon, including haunted boat horror Mary and crime thriller Killers Anonymous, Oldman will play lawyer Jürgen Mossack in Steven Soderbergh’s hotly anticipated Panama Papers drama The Laundromat. He’s one of many cast members who could see himself in the race with Meryl Streep, David Schwimmer, Jeffrey Wright, Matthias Schoenaerts all starring alongside.

Annette Bening

One of the few performances here that some critics, including myself, have already seen is Annette Bening’s rich, detailed take on senator Dianne Feinstein in The Report, a compelling, angry retelling of the investigation into post 9/11 torture practices. It’s commanding work that avoids mere mimicry and Bening exists on that surprising list of great actors who have never won an Oscar, despite four nominations, and given how the Academy has been turning bridesmaids into brides in recent years, from Leo to Glenn, a best supporting actress win could make sense. The film’s talky, unemotional directness might turn some voters off but, aside from Scott Z Burns’ info-packed script, she has the best chance of recognition.

Cynthia Erivo

Making small but impactful impressions last year in both Widows and Bad Times at El Royale, the Tony-winning actor and singer Cynthia Erivo is about to enjoy a much bigger year. She’ll crop up in Doug Liman’s big-budget YA adaptation Chaos Walking, 12 Years a Slave writer John Ridley’s sci-fi adventure Needle in a Timestack and, most prominently, as abolitionist and activist Harriet Tubman in an awards-aiming biopic. Film-makers have tried to bring Tubman’s story to the screen before, with a Viola Davis-starring project once mooted, but final responsibility was given to Kasi Lemmons, who impressed with her 1997 debut Eve’s Bayou and next year, could become the first woman of colour to nab a nomination for best director.

James Gray

If you were one of the precious few who saw James Gray’s last film, the wonderful yet sorely underseen adventure The Lost City Of Z, you’ll also be aware of how sorely under-nominated it was as well. The director started out in smaller, grittier crime fare but his bleak period drama The Immigrant, also sorely underseen, kicked off a new, more ambitious phase in his career. He’s expanding his scope even further with Ad Astra, a pet project that’s set to be one of 2019’s most fascinating films, starring Brad Pitt as an engineer traveling through the solar system to find his lost father, played by Tommy Lee Jones. Gray has compared the story to Joseph Conrad’s Heart of Darkness while also claiming it will be “the most realistic depiction of space travel that’s been put in a movie”. Its May release date could also suggest a Cannes premiere.

Charlize Theron


Oscar winner Charlize Theron found herself on the outskirts of the most recent best actress race with her lived in portrayal of a mother under pressure in Tully, but next time she might fare better in the best supporting actress category with her latest transformative role. In the Untitled Roger Ailes Project, working title Fair and Balanced, she’s taking on Megyn Kelly as she helped take on the misogynistic culture at Fox News. But just in case you might worry that Kelly will be branded as some sort of hero, given her heinous history of racism, reports suggest that The Big Short writer Charles Randolph has crafted her as “ambitious, hard-working and not highly intelligent”. The stacked cast, also including Nicole Kidman, Margot Robbie, John Lithgow, Kate McKinnon and Allison Janney, suggests multiple nominations could be in store.

Zazie Beetz

One of the many great things about Donald Glover’s dazzling awards magnet Atlanta is the rise of Zazie Beetz, an actor whose charming yet underused presence makes one crave so much more. She has since cropped up in Deadpool 2, High Flying Bird and, ermmm, Geostorm and this year, she will be in pretty much everything. While roles in schlocky horror Wounds and the Joaquin Phoenix-starring Joker movie are unlikely to inspire Academy acclaim, Beetz will also appear in two juicy Oscar prospects. The first is Lucy in the Sky, the aforementioned drama that stars Natalie Portman as a troubled astronaut, and the second is Against All Enemies, where she will play activist Dorothy Jamal in a fact-based thriller also starring Kristen Stewart.


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Post time 28-2-2019 06:50 AM | Show all posts
wahhhhh.....cepatnya keluar thread baru untuk 2020.


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Post time 28-2-2019 07:09 AM | Show all posts
Edited by mat_arof at 28-2-2019 07:10 AM

Tahun ni Netflix akan mengeluarkan Filem dan akan di Tayangkan di Panggung Wayang..setelah apa yang Berlaku pada ROMA..Netflix akan tayang filem filem  di Tayangkan di pawagam dahulu lepas tu baru streaming di Netflix


antara filem Netflix untuk oscar Contender

Martin Scorsece The Irishman
Steven Soderbergh's The Laundromat,
David Michôd's The King,
Dee Rees' The Last Thing He Wanted,
Fernando Meirelles' The Pope

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Post time 1-3-2019 12:28 AM | Show all posts
Leonardo Dicaprio, Margot Robbie dan Brad Pitt in Once Upon a Time in Hollywood.

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Post time 1-3-2019 06:51 AM | Show all posts
Rhyno replied at 1-3-2019 12:28 AM
Leonardo Dicaprio, Margot Robbie dan Brad Pitt in Once Upon a Time in Hollywood.

kalau filem Wes Anderson dapat disiapkan tahun ni...boleh lar nanti berlawan ..yang mana lebih hebat...

so far aku rasa ..filem filem Quantin tarantino ni x semuanya best dan bagus...

tapi itulah nak tgok juga apa best ke tidak filem OUATIH
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Post time 1-3-2019 11:24 PM | Show all posts
jgn dilupakan filem biopic Elton John.

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Post time 6-3-2019 11:44 AM | Show all posts
tadi tengok trailer Hotel Mumbai
teringin sangat nak dengo Dev Patel cakap slang  yindiaaaa...

ari tu slang ozzie dlm LION sangkut nomination oscar.
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Post time 21-4-2019 12:50 AM | Show all posts
dah keluar trailer filem terbaru actress kesukaan @mat_arof iaitu Kristen Stewart.





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Post time 21-4-2019 12:52 AM | Show all posts
by the way, Johnny Depp ada sebuah lagi filem tahun ni yg ada harapan tersangkut kat Oscar.

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Post time 12-5-2019 02:35 AM From the mobile phone | Show all posts
How about Renee Zellweger for Judy as Judy Garland? Any thought @dauswq ?

Possible for 4th oscar nomination or 2nd Oscar win?

Ni trailernya..so far aku suka the cinematography,mengingatkan aku kpd La La Land.

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Post time 13-5-2019 04:53 PM | Show all posts
cyclops_psycho replied at 12-5-2019 02:35 AM
How about Renee Zellweger for Judy as Judy Garland? Any thought @dauswq ?

Possible for 4th oscar  ...

Renee macam dah locked utk kategori Best Actress. dia akan menghadapi saingan sengit daripada Cynthia Erivo (Harriet) dan Alfre Woodard (Clemency).
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 Author| Post time 25-5-2019 11:10 PM | Show all posts
                Cannes 2019: The Best 10 Movies From This Year’s Festival               



While Quentin Tarantino and "Rocketman" didn't disappoint, there was a whole lot more cinema to celebrate in Cannes this year.
                                                                                                                                                                                                
By Eric Kohn, David Ehrlich, Anne Thompson                                                        
                           
        
               
                        
        



Going into the Cannes Film Festival, several movies were already generating a lot of buzz, and they certainly delivered for many audiences. Elton John biopic “Rocketman” pleased diehard fans of the singer, who walked the red carpet to much fanfare. Quentin Tarantino’s “Once Upon a Time in Hollywood” brought Leonardo DiCaprio and Brad Pitt to Cannes to present some of their best performances yet, as an actor-stuntman duo in 1969 contending with the changing times. As a platform for studio movies generating buzz ahead of their stateside releases, Cannes did not disappoint.
However, the festival offers a whole lot of cinema beyond the most obvious headline-grabbing ingredients. With 69 films in the Official Selection and dozens more in Directors’ Fortnight and Critics’ Week, Cannes had plenty of opportunities to celebrate new work from auteur mainstays and major discoveries from new talents. Here are the major highlights.

“A Hidden Life”

Terrence Malick is back. The reclusive Texas filmmaker flew to Cannes to offer (limited) support for his ninth feature film, “A Hidden Life,” which was picked up by Fox Searchlight, the distributor of his 2011 Palme d’Or-winner “The Tree of Life.” After subsequent Malick movies failed to woo critics or audiences, Malick has fashioned a painstakingly assembled masterwork, almost three hours long. This time, Malick deploys his trademark voiceovers, editing rhythms, and stunning cinematography in service of a riveting, moving, romantic, spiritual, and chilling anti-Hitler World War II narrative.
“A Hidden Life”

August Diehl and Valerie Pachner play a loving Austrian couple with three little girls who live a bucolic existence in the Austrian Alps, farming in close harmony with nature, until Hitler intervenes. When farmer Franz Jägerstätter is called to serve, he realizes that he can’t make the required loyalty oath to Hitler. “This is more about a private and silent choice,” said Diehl in Cannes, “not something visible, not outstanding, he’s not a hero. It’s a personal and spiritual choice.”

The actors enjoyed Malick’s habitual ways of working: long, uninterrupted, improvisational 20-30 minute takes that were filmed in German-accented English and some German back in 2016, followed by a protracted and exacting editing process that took three more years. Michael Nykvist and Bruno Ganz both died in the interim, having shot their last films with Malick.

Disturbingly, the movie is all too timely, resonating with the rise of the Far Right in Europe and America. Searchlight, which paid a reported $12-14 million for world rights, is banking that the film will hit global audiences (and Oscar voters) hard. —AT

“Bacurau”


Nothing in Kleber Mendonça Filho’s Sonia Braga drama “Aquarius” could have prepared audiences for this unclassifiable dystopian Western fever dream, co-directed by Juliano Dornelles. “Bacurau” unfolds in a near-future desert setting, as the titular remote community contends with a water crisis and a mysterious pack of American vigilantes who have been picking off their people one by one. The movie’s cryptic plot is equal parts John Carpenter and Sergio Leone as it builds to a bloody showdown between warring factions straight out of “Seven Samurai.” In other words, it’s exactly the sort of love letter to first-class filmmaking that a former critic like Filho would make, as well as a visionary cinematic achievement on its own terms.

“Bacurau”

Among the many joys of “Bacurau”: Sonia Braga as a hard-drinking, no-nonsense doctor; Udo Kier as a demented killer; an ebullient neighborhood guitarist who follows locals around and sings songs about their lives; and a local fixation on psychedelics, which enter into the plot more than once.

“Bacurau” moves along in remarkable fits of inspiration, careening from playful explorations of communal support and progressive relationships to violent showdowns and ideological spats. Plus, there are UFOs and ghosts. What else do you need?

“Bacurau” is the kind of movie that belongs in Cannes Competition: a completely original achievement that uses the power of the art form in fresh ways, and isn’t afraid to take some wacky swings in the process. —EK

“Beanpole”
Inspired by Svetlana Alexievich’s book “The Unwomanly Face of War,” Kantemir Balagov’s heartbreaking “Beanpole” tells a glacially paced but gorgeously plotted story about two Russian women — best friends — who grow so desperate for any kind of personal agency after the Siege of Leningrad that they start using each other to answer the unsolvable arithmetic of life and death. Iya (newcomer Viktoria Miroshnichenko) suffers from post-concussion syndrome after fighting on the frontlines, and now works as a nurse in a musty Leningrad hospital that heaves with the dead and dying.

“Beanpole”

Even before Iya accidentally suffocates a young boy to death during a post-concussive fit of paralysis — and even before Masha (Vasilisa Perelygina), the boy’s mother, returns from the army to find that Iya “owes her a life” — “Beanpole” has already painted a bitter and extraordinarily textured portrait of a city that is just beginning to confront its trauma. These people have been mangled by a war that few have survived and have escaped; the fighting may be over, but peace isn’t necessarily waiting for them on the horizon. And while Iya and Masha are the only family that either one of them has left, it turns out they may not be much of a comfort to each other. Unfolding with a steely resolve and brutal honesty that recalls Cristian Mungiu’s “4 Months, 3 Weeks, and 2 Days,” Balagov’s film grows more powerful (and transcends its faint traces of miserablism) as Iya and Masha try to master each other without having a hold on themselves. —DE

“The Climb”

The premise of “The Climb” has been told so many times it’s a small miracle that this one works at all: Two lifelong buddies test the boundaries of their friendship when a woman comes between them. Yet Michael Covino’s absorbing directorial debut confronts that challenge with stunning cinematic ambition, resulting in a brilliant reinvention of the buddy comedy. Testosterone-fueled dude movies have occupied every facet of the filmmaking landscape in recent years, from the Duplass brothers to “Step Brothers,” but “The Climb” transforms that trope into a fresh vision of boozy showdowns and awkward laments, resulting in a winning tragicomic vision of its own design.

“The Climb”
Cannes Film Festival

The starting point for “The Climb” goes back to a 2017 Sundance short film, with a clever scenario so economical it never could have hinted at the grand design to follow: Longtime pals Mike (Covino) and Kyle (co-writer Kyle Marvin) bike up a steep hill as Mike, the fitter of the two, speeds ahead, while confessing that he’s been sleeping with Kyle’s fiancé. In seven tight minutes, the short envisioned a pair of dopey, breathless man-children whose tight bond is tested under the silliest of circumstances. Where could it possibly go from there? As it turns out: Many exciting places, as this sharp two-hander veers from caustic to sweet with acrobatic filmmaking to spare, following the guys through ups and downs in the years to come with the same clever and concise means of depending their relationship. It’s not just a strong example of the genre; it’s a paragon of the form. —EK

“Diego Maradona”

The five-minute opening montage of “Diego Maradona” recounts a dizzying history of the Argentine soccer player’s dramatic rise, and the story’s just getting started. As Barcelona’s breakout talent in the early ‘80s, Maradona was seen as a natural successor to Pelé’s stature as the greatest player in history, with ethos to boot: “I’m more interest in glory than money,” he says in one passing interview, as the prologue careens through his exuberant hard-partying lifestyle, local backlash, and a recovery from injury — until at long last he’s sold to less glamorous Napoli in 1984. It’s a dramatic shift, but only a starting point for this breathless and gripping saga of a soccer legend’s fall from grace.

“Diego Maradona”

HBO
While Maradona’s controversial “Hand of God” triumph in the 1986 World Cup has already been captured in an ESPN “30 for 30” installment, director Asif Kapadia folds that major chapter into a much wider tapestry. You couldn’t ask for a better match between filmmaker and subject, as the Oscar-winning director of “Senna” and “Amy” has already proven his bonafides when it comes to capturing ill-fated pop culture figures in intimate terms. As with “Amy,” the decade-spanning “Diego Maradona” eschews talking heads for a pure archival narrative, blending media coverage with reams of home video material to transform Maradona’s story into a grand opus. Aided by revealing voiceover narration from its subjects, the grainy ‘80s videos become a remarkable portal to the past. —EK

“Les Misérables”
This extraordinary fiction debut from French documentary filmmaker Ladj Ly opens with video footage of cheering Parisians celebrating France’s 2018 World Cup victory. That’s the last time the film reveals any sort of unity. Expanded from Ly’s Cesar-nominated short and co-written with Giordano Gederlini and Alexis Manenti, who stars as racist bully Chris, one of three Anti-Crime Squad cops on patrol in Montfermeil, Ly’s neighborhood outside of Paris, this disciplined, well-constructed movie lays out the different factions governing this crime-ridden pressure-cooker.

Threading together hundreds of hours of footage, Ly and his editor Flora Volpelière ratchet up tension throughout the film, as Stéphane (Damien Bonnard), a trained cop from outside Paris, joins the team and watches the cops’ often aggressive interactions with new eyes. On his first day, the police captain reminds him that teamwork is everything, but as a challenging first day is followed by an even more disturbing second, newcomer Stéphane disapproves of his partners’ violent methods. They test him, throwing him into unfamiliar meetings with dangerous men. There’s the corrupt mayor, the Muslims, a Romany circus with a lion cub on the loose, fierce, angry residents trying to protect their children, and the kids themselves, who rise up en masse against the trio of cops, who have limited weapons they can use on minors.

“Les Misérables”

Things get out of hand when Stéphane’s strapping partner Gwada (Djebril Zonga) loses his temper and zaps a kid in the face with a flashball, knocking him out. Suddenly the cops realize that a drone has recorded the incident, and as they minister to the fallen child, they must find the video before it gets in the wrong hands. Inspired by the Paris riots of 2005, Ly’s film shows just how angry sparks can build to a raging inferno. Ly’s directing is so assured that CAA swiftly signed him (he’s going to learn English), and Amazon beat out Netflix by offering a theatrical release. Look for the film to hit the fall festivals. —AT

“The Lighthouse”

“The Lighthouse,” Robert Eggers’ gripping black-and-white nautical psychodrama, draws from a sea of potent references. The filmmaker’s hypnotic follow-up to “The Witch” conjures the ghosts of Herman Melville and Andrei Tarkovsky, with ample doses of Stanley Kubrick and Bela Tarr for good measure. It’s a stunning showcase for Robert Pattinson and Willem Dafoe to unleash their wildest extremes, by positioning them at the center of a two-hander about a descent into madness in the middle of nowhere. It’s the best movie about bad roommates ever made.

“The Lighthouse”

"The Lighthouse"
As with “The Witch,” Eggers’ sophomore feature once again centers on a small group of characters surrounded by the elements and consumed by invisible forces, driving each other mad in the process. And once again, the title says it all: Set sometime in the 1890’s, “The Lighthouse” finds Thomas Wake (Dafoe) and Efraim Winslow (Pattinson) arriving at that remote post, where the watery beacon extends from a small rocky islet and into a chalky sky. They spend the duration of the movie wandering its muddy, haunted crevices, and while the movie telegraphs their fate early on, the thrill comes from watching their erratic downward spiral take shape. —EK

“Pain & Glory”

Pedro Almodóvar’s auto-fiction “Pain & Glory” could push the Spanish auteur back into the Oscar race. Starring his go-to stars Antonio Banderas (the star of Almodóvar’s “Labyrinth of Passion” and “Law of Desire” is long overdue for an Oscar nomination) as Salvador Mallo, an aging Spanish arthouse director based on Almodóvar, and Oscar-winner Penelope Cruz (“Vicky Cristina Barcelona”) as his younger mother, the film is a gentle navel-gazer about the roots of desire, past loves, and the deterioration of the aging body. Banderas delivers a quiet, subtle, moving performance unlike any he has given before. He ditches old acting habits to inhabit this blocked, lonely filmmaker suffering from a bad back, anxiety, migraines, writer’s block, and a sensitive esophagus who has fallen on a potent cocktail of pain meds, alcohol, and snorted heroin to get through the days. “Without filming, my life is meaningless,” Mallo says.

Aided by a fine-tuned Alberto Iglesias score and various stages of altered consciousness, Almodóvar seamlessly flashes back to Mallo’s youth in Valencia with his mother (Cruz), who arranges for him to teach a house painter how to read; when he sees the muscled young man strip down for a bath, the boy feels lust for the first time. Later, Mallo accidentally reconnects with old love Federico (Leonardo Sbaraglia), who had painfully left him years before; the two men talk, reminisce, and as they kiss goodbye at the door, rekindle their old passion.

Banderas is particularly naked and exposed in a series of quiet tableaus between Mallo and his aging mother (Julieta Serrano) as she prepares for death. Thanks to Almodóvar, the future career of the mature Banderas shows huge potential. —AT

“Parasite”
Ditching the sci-fi elements that have defined his recent work in favor of something more grounded (but no less eccentric), “Snowpiercer” director Bong Joon-ho offers another compassionate but comically violent parable about how society can only be as strong as its most vulnerable people. The difference with this tender shiv of a movie is that it doesn’t rely on its metaphors, or even let them survive; on the contrary, it attacks them with a wide variety of household objects until it becomes clear just how possible all of “Parasite” really is.

“Parasite”

A grounded enough story about the members of a poor Seoul family (led by the great Song Kang-ho) who, one-by-one, each begin working for a nouveau riche family in their sleek mansion up the hill, “Parasite” starts as an off-kilter class comedy of sorts before sinking into something wild, unclassifiable, and burning with impotent rage. As heightened as “Okja,” but as realistic as “Mother,” Bong’s latest is a madcap excoriation of life under the pall of late capitalism, and it leaves us all a little richer at the end of it. —DE

“Portrait of a Lady on Fire”

As with each of Sciamma’s three previous features, “Portrait of a Lady on Fire” tells a profoundly tender story about the process of self-discovery and becoming. This one — Sciamma’s most perfect and powerful to date — stars a brilliant Adèle Haenel as a reluctant 18th century bride-to-be, and a violently present Noémie Merlant as the woman who’s hired to paint her wedding portrait in secret.

“Portrait of a Lady on Fire”

But while all of the filmmaker’s other work has been immaculate in one way or the other, this is the first of her movies that could be described as “painterly.” And though all of her earlier offerings have been about the images that her characters project, this one is more concerned with the ones they leave behind. Austere where “Tomboy” was anxious, and hesitant where “Girlhood” was recklessly confident, “Portrait of a Lady on Fire” is a period romance that’s traditional in some ways, progressive in others, and altogether so damn true that it might feel more like staring into a mirror than it does running your eyes along a canvas. And it all builds to an absolute sledgehammer of an ending. —DE

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Post time 30-5-2019 04:16 AM | Show all posts
Edited by Rhyno at 30-5-2019 04:19 AM

rasa mcm 5 org ni dah 90% akan tercalon kat Oscar utk kategori Best Leading Actor.

1. Robert Deniro - The Irishman
2. Tom Hanks - A Beautiful Day in the Neighbourhood
3. Ian McKellen - The Good Liar
4. Leonardo Dicaprio - Once Upon a Time in Hollywood
5. Christian Bale - Ford V Ferrari



ROBERT DENIRO


TOM HANKS


IAN MCKELLEN




LEONARDO DICAPRIO


CHRISTIAN BALE
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