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Post by triflo on Sept 8, 2018 19:19:54 GMT
I'm very encouraged and excited by the response towards Destroyer. I think Kidman has a very valid chance at being nominated. We'd obviously be in a better position to comment and predict once we have all watched most of these performances but she hasn't had such an avid buzz for a leading role in ages. I also think Annapurna and Kidman's PR machinery would have to work hard this fall - the Best Actress category is an embarrassment of riches. Meanwhile: variety.com/2018/film/news/venice-film-festival-complete-list-of-winners-updated-live-1202933206/Exactly. I guess Nicole will campaign a lot for both Destroyer and Boy Erased. So many festival dates on her way...
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Post by HaurvatatL on Sept 8, 2018 19:50:20 GMT
in my opinion, just for now, SAG nom is the most shaky one for Nic. and my two "Lock"s are Melissa and Glenn. GAGA is very possible.
Olivia could go supporting for a definite winning, and Emma Stone is pressuring searchlight to get in the leading category so obvious.
and if "Ben is Back" is not that good or Julia Roberts goes to supporting (I don't think she'll do that), then at least we got a GG nom.
BFCA Melissa Mccarthy Glenn Close Lady GAGA Olivia Colman or Emma Stone (let Searchlight decide) Carey Mulligan or Emily Blunt Toni Collette or Viola Davis or Kiki Layne Julia Roberts or our girl
GG Drama Melissa Mccarthy Glenn Close Julia Roberts or our girl Toni Collette or Viola Davis Kiki Layne or Carey Mulligan
GG comedy/music Lady GAGA Olivia Colman Emma Stone Emily Blunt Constance Wu or Charlize Theron
BAFTA Glenn Close Olivia Colman Lady GAGA Carey Mulligan or Emily Blunt or Saoirse Ronan Melissa Mccarthy or Julia Roberts or our girl
SAG Melissa Mccarthy Glenn Close Olivia Colman or Emma Stone Lady GAGA or Emily Blunt or Carey Mulligan Viola Davis or Kiki Layne or Constance Wu
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Post by WizLemon on Sept 8, 2018 20:36:12 GMT
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Post by Mr Dedlock on Sept 8, 2018 20:43:24 GMT
oh my it looks like the cult film websites are really taking to it yay!!!!!
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Post by WizLemon on Sept 8, 2018 23:19:50 GMT
The first official tweet from the account is out. Hoping the trailer soon will be too.
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Post by Mr Dedlock on Sept 8, 2018 23:27:45 GMT
I hope they dont use that for the poster, I want something noriish cult like a creative take.
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Post by paperboy88 on Sept 8, 2018 23:53:25 GMT
That would be laziness. They have to come up with a decent poster. And hopefully a great trailer. Is she going to TIFF?
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Post by Mr Dedlock on Sept 9, 2018 0:56:29 GMT
Brian Tallerco for Roger Ebert.com has reviewed both Destroyer and Boy Erased, he prefers "destroyer" link
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Post by WizLemon on Sept 9, 2018 1:08:59 GMT
That would be laziness. They have to come up with a decent poster. And hopefully a great trailer. Is she going to TIFF? I hope she would but won't be surprised if she doesn't. She just put on Instagram a picture of her kitty - I wonder if she plans to sit this one out at home since the girls started school etc etc.
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Post by curdey on Sept 9, 2018 1:21:25 GMT
That would be laziness. They have to come up with a decent poster. And hopefully a great trailer. Is she going to TIFF? I hope she would but won't be surprised if she doesn't. She just put on Instagram a picture of her kitty - I wonder if she plans to sit this one out at home since the girls started school etc etc. I don't think we ever got confirmation she was attending TIFF, did we? From Instagram it doesn't seem likely.
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Post by Mr Dedlock on Sept 9, 2018 2:08:37 GMT
4/5 Hollywood news rave review link
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Post by bada on Sept 9, 2018 2:45:18 GMT
What a wonderful time to be a Kidmaniac, really. An abundance of great performances.
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Destroyer
Sept 9, 2018 6:58:10 GMT
via mobile
Post by Manwithoutfriends on Sept 9, 2018 6:58:10 GMT
While Nicole might not be the one to beat her, I don't buy for one second that Glenn Close is locked for the win. This "she has to win because she's overdue' campaign being whipped up by the media reminds me of the year Peter O'Toole got his 8th Best Actor nomination for Venus. Early on everyone was saying O'Toole was locked to win in a hugely praised performance, as he was such a legend and the actor with the most nominations without a win. He ended up losing to Forrest Whitaker in The Last King Of Scotland (a less praised movie than Venus, but a more transformational/baity role). That's just how it goes sometimes. If the Academy were willing to let Peter O'Toole go to his grave without a competitive Oscar, then they will not lose any sleep denying Glenn Close, who is a major American actress, but not as big a legend as O'Toole was. I don't think Closes role is super-baity (despite the great reviews, a disappointed/neglected wife doesn't really scream 'Oscar win lock' for me). And her movie kinda looks like homework. Close will be nominated, but I can easily see her being O'Toole'd. Like I said, it might not be Nicole that takes Close down. Could be Gaga or McCarthy. But I'm not buying Close as unbeatable. Even the praise for Close in her reviews such as 'subtle', 'still' and 'slow burn' can be seen as warning signs when it comes to Oscar voters? How often do subtle and understated performances win lead actress? Winners tend to be more in your face. The difference with Otoole and Close is that "Venus" was never regarded as one of Peters best works, whereas The Wife IS being hailed as one of her best. The Wife is not her Venus- Albert Nobbs was. There is also that factor that the Academy learned their mistake from not giving him or Burton wins until it was too late. The reviews of Close say subtle, but they also mention that she does have bigger, louder moments too. The reason they pinpoint the nuances is because Close's detractors have always tried to paint her as a bit of a scenery chewer. In short, they mean it as a compliment. As for the film itself, it's been well received even if it's not going to score other nods. The biggest thing she has going for her is the pro-woman angle, coming off the back of Clinton losing, the metoo movement and all the gender inequality debates of the last few years. Close's character is a positive message for women who have had to live in the shadows of men.
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Post by erik on Sept 9, 2018 7:03:49 GMT
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Post by chris0929 on Sept 9, 2018 7:11:18 GMT
The whole review is as follows: The sins of the past weigh heavy on Destroyer, a sun-splashed Los Angeles noir that’s more an exercise in portentous atmosphere than a deft exploration of guilt and regret. Buried in makeup that accentuates her character’s hard-luck existence, Nicole Kidman brings such compelling conviction to her role as a tormented detective that she single handedly imbues the film with urgency and authenticity. That proves crucial, since director Karyn Kusama often miscalculates Destroyer’s sense of its own profundity. After a stint on the festival circuit, Destroyer will open in US theatres on December 25, no doubt hoping to secure Kidman her fifth Oscar nomination. (She won in 2003 for The Hours.) Fans of other moody indie revenge thrillers such as You Were Never Really Here might be on board, although mixed reviews and a despairing tone may turn off mainstream crowds. As the movie begins, LAPD detective Erin Bell (Kidman) is waking up in her car, her weathered face and bloodshot eyes suggesting someone in the midst of a bad personal spell. But soon, her interest is piqued by hints that an old nemesis, a violent criminal named Silas (Toby Kebbell), has re-emerged, giving her an opportunity to settle some scores. Written by Phil Hay and Matt Manfredi, the screenwriters behind Kusama’s 2015 low-budget thriller The Invitation, Destroyer is constructed like a puzzle, balancing the present-day storyline with a series of flashbacks that reveal who Erin once was. Those latter scenes involve her going undercover with her partner Chris (Sebastian Stan) to infiltrate Silas’s gang, although the exact outcome of that mission won’t be clear until near the film’s end. Suffice it to say, it has left Erin reeling ever since. Kusama and Kidman provide the film with a rugged, merciless quality, depicting Erin as an antihero hoping to complete unfinished business. While it’s a standard Hollywood gimmick to transform a glamorous star so that she looks “realer” through unflattering makeup, Kidman’s Destroyer reinvention is so striking — and the actress’ performance so gritty and exhausted — that we accept her as a troubled cop who can’t let an unspecified past trauma go. Cinematographer Julie Kirkwood makes good use of L.A.’s seediest sections, the squalor contrasting bitterly with the sunny weather. And when the action shifts to the nearby desert, Destroyer exudes a wide-open vastness that suitably mirrors its protagonist’s spiritual depletion. But the posturing can feel empty when the storytelling isn’t as rich. And the film’s parallel timelines create an inevitable problem; eventually, the flashbacks become frustrating as we grow impatient waiting to learn what Erin’s big secret is. Thankfully, Erin’s colourful interactions with colleagues and different strata of criminal lowlifes are consistently entertaining, providing intriguing hints about this stoic woman without revealing everything. The supporting cast plugs into Destroyer’s malignant mood, particularly Tatiana Maslany as a volatile addict who crosses Erin’s path. And Kebbell manages to make Silas seem larger-than-life without overdoing the theatrics. There’s a formidable evil within this gangster that’s so repellent — and yet he represents the permanent darkness that could swallow up Erin if she loses her moral compass. Regrettably, Destroyer occasionally aims for mythic, tragic self-importance — especially during a painfully protracted finale — which gives the story thematic undercurrents it hasn’t fully earned. Kusama is on much firmer ground when she simply lets her vengeful cop rumble across the city looking for answers, unconcerned about the damage she leaves in her wake. Along those lines, Destroyer features an exemplary shootout that captures all that can be great about this film in a few blunt, arresting minutes — it’s raw, immediate and visceral without suffering from delusions of grandeur.
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