【89】颁奖季口碑追踪贴
镇楼的18部片子陆陆续续已经出了不少口碑，年初的某些女人和海边的曼彻斯特口碑上佳，不过似乎并不是奥系热门。月光前期口碑似乎相当好，爱恋作为黑人题材电影也有着优秀的口碑表现。
威尼斯的爱乐之城口碑似乎是目前为止最优秀的一部，MTC12家媒体出现了91分的高分，不过个人并不看好在本片会在传统奖项上表现得如口碑般出色。
汤姆福特的第二部作品延续了单身男子的高口碑，在威尼斯上也相当受人关注。果真聪明人干啥都能干好。
AA今年还有一部口碑优异的作品——降临。此片在表演奖上可能不会有什么收获，但是技术奖还是有力争夺者。
一个国家的诞生主创陷入丑闻，不过本片的口碑还是可以的，也许仍能在颁奖季有所收获。
加菲今年的双保险——沉默和钢锯岭。期待他能在表演奖上有所收获。
威尼斯的爱乐之城口碑似乎是目前为止最优秀的一部，MTC12家媒体出现了91分的高分，不过个人并不看好在本片会在传统奖项上表现得如口碑般出色。
汤姆福特的第二部作品延续了单身男子的高口碑，在威尼斯上也相当受人关注。果真聪明人干啥都能干好。
AA今年还有一部口碑优异的作品——降临。此片在表演奖上可能不会有什么收获，但是技术奖还是有力争夺者。
一个国家的诞生主创陷入丑闻，不过本片的口碑还是可以的，也许仍能在颁奖季有所收获。
加菲今年的双保险——沉默和钢锯岭。期待他能在表演奖上有所收获。
Moonlight和Sully开了，目前MoonlightRT三个评价全鲜，大爆确实，锁定BP提名
SullyRT两个评价全鲜，但是MTC分数较为平庸，6家媒体76分，混个BP提名还是有希望的。
今年黑人题材大年，TBOAN 和Loving在上半年就爆了，接着就是Moonlight和Fences，以及并不被人看好的United Kingdom，这次可能能斩获重要奖项。
SullyRT两个评价全鲜，但是MTC分数较为平庸，6家媒体76分，混个BP提名还是有希望的。
今年黑人题材大年，TBOAN 和Loving在上半年就爆了，接着就是Moonlight和Fences，以及并不被人看好的United Kingdom，这次可能能斩获重要奖项。
· ARRIVAL (d. Denis Villeneuve, U.S., 2016)
· THE B-SIDE: ELSA DORFMAN’S PORTRAIT PHOTOGRAPHY (d. Errol Morris, U.S., 2016)
· BLEED FOR THIS (d. Ben Younger, U.S., 2016)
· CALIFORNIA TYPEWRITER (d. Doug Nichol, U.S., 2016)
· CHASING TRANE (d. John Scheinfeld, U.S., 2016)
· THE END OF EDEN (d. Angus Macqueen, U.K., 2016)
· FINDING OSCAR (d. Ryan Suffern, U.S., 2016)
· FIRE AT SEA (d. Gianfranco Rosi, Italy/France, 2016)
· FRANTZ (d. François Ozon, France, 2016)
· GENTLEMAN RISSIENT (d. Benoît Jacquot, Pascal Mérigeau, Guy Seligmann, France, 2016)
· GRADUATION (d. Cristian Mungiu, Romania/France/Belgium, 2016)
· INTO THE INFERNO (d. Werner Herzog, U.K./Austria, 2016)
· THE IVORY GAME (d. Kief Davidson, Richard Ladkani, Austria/U.S., 2016)
· LA LA LAND (d. Damien Chazelle, U.S., 2016)
· LOST IN PARIS (d. Fiona Gordon, Dominique Abel, France/Belgium, 2016)
· MANCHESTER BY THE SEA (d. Kenneth Lonergan, U.S., 2016)
· MAUDIE (d. Aisling Walsh, Canada/Ireland, 2016)
· MEN: A LOVE STORY (d. Mimi Chakarova, U.S., 2016)
· MOONLIGHT (d. Barry Jenkins, U.S., 2016)
· MY JOURNEY THROUGH FRENCH CINEMA (d. Bertrand Tavernier, France, 2016)
· NERUDA (d. Pablo Larraín, Chile/Argentina/France/Spain, 2016)
· NORMAN: THE MODERATE RISE AND TRAGIC FALL OF A NEW YORK FIXER (d. Joseph Cedar, U.S./Israel, 2016)
· SNAPSHOTS: EYES ON THE WORLD – three nonfiction short films including EXTREMIS (d. Dan Krauss, U.S., 2016); REFUGEE (d. Joyce Chen, Emily Moore, U.S., 2016); THE WHITE HELMETS (d. Orlando von Einsiedel, U.K., 2016)
· SULLY (d. Clint Eastwood, U.S., 2016)
· THINGS TO COME (d. Mia Hansen-Løve, France/Germany, 2016)
· THROUGH THE WALL (d. Rama Burshtein, U.S./Israel, 2016)
· TONI ERDMANN (d. Maren Ade, Germany/Austria, 2016)
· UNA (d. Benedict Andrews, U.K./U.S./Canada, 2016)
· WAKEFIELD (d. Robin Swicord, U.S., 2016)
Telluride 的film list
· THE B-SIDE: ELSA DORFMAN’S PORTRAIT PHOTOGRAPHY (d. Errol Morris, U.S., 2016)
· BLEED FOR THIS (d. Ben Younger, U.S., 2016)
· CALIFORNIA TYPEWRITER (d. Doug Nichol, U.S., 2016)
· CHASING TRANE (d. John Scheinfeld, U.S., 2016)
· THE END OF EDEN (d. Angus Macqueen, U.K., 2016)
· FINDING OSCAR (d. Ryan Suffern, U.S., 2016)
· FIRE AT SEA (d. Gianfranco Rosi, Italy/France, 2016)
· FRANTZ (d. François Ozon, France, 2016)
· GENTLEMAN RISSIENT (d. Benoît Jacquot, Pascal Mérigeau, Guy Seligmann, France, 2016)
· GRADUATION (d. Cristian Mungiu, Romania/France/Belgium, 2016)
· INTO THE INFERNO (d. Werner Herzog, U.K./Austria, 2016)
· THE IVORY GAME (d. Kief Davidson, Richard Ladkani, Austria/U.S., 2016)
· LA LA LAND (d. Damien Chazelle, U.S., 2016)
· LOST IN PARIS (d. Fiona Gordon, Dominique Abel, France/Belgium, 2016)
· MANCHESTER BY THE SEA (d. Kenneth Lonergan, U.S., 2016)
· MAUDIE (d. Aisling Walsh, Canada/Ireland, 2016)
· MEN: A LOVE STORY (d. Mimi Chakarova, U.S., 2016)
· MOONLIGHT (d. Barry Jenkins, U.S., 2016)
· MY JOURNEY THROUGH FRENCH CINEMA (d. Bertrand Tavernier, France, 2016)
· NERUDA (d. Pablo Larraín, Chile/Argentina/France/Spain, 2016)
· NORMAN: THE MODERATE RISE AND TRAGIC FALL OF A NEW YORK FIXER (d. Joseph Cedar, U.S./Israel, 2016)
· SNAPSHOTS: EYES ON THE WORLD – three nonfiction short films including EXTREMIS (d. Dan Krauss, U.S., 2016); REFUGEE (d. Joyce Chen, Emily Moore, U.S., 2016); THE WHITE HELMETS (d. Orlando von Einsiedel, U.K., 2016)
· SULLY (d. Clint Eastwood, U.S., 2016)
· THINGS TO COME (d. Mia Hansen-Løve, France/Germany, 2016)
· THROUGH THE WALL (d. Rama Burshtein, U.S./Israel, 2016)
· TONI ERDMANN (d. Maren Ade, Germany/Austria, 2016)
· UNA (d. Benedict Andrews, U.K./U.S./Canada, 2016)
· WAKEFIELD (d. Robin Swicord, U.S., 2016)
Telluride 的film list
moonlight在rt上已有6家评价，全部满分！大爆确实，BPBD女配锁定提名
汤姆汉克斯的萨里机长虽然新鲜度不错，可惜均分较为平庸
AA和JR的降临依然保持着高均分和全鲜的好成绩，今年的火星救援，地心引力确实！但根据这两部的表演奖的提名规律，AA依然持续怨妇
TF的夜行动物，同时也是AA今年的双保险之一，新鲜度也达到了89%，均分也有7.2（1/9），虽然不如降临（毕竟villeneuve），水平基本持平于单身男子
同时，石头姐也实力回春，啦啦蓝成为目前口碑除月光外最好的一部作品，番茄新鲜度依然维持在100%，均分8.9的高分(最高曾达到9.3），但避免不了陪跑的命运
MTC口碑一览
汤姆汉克斯的萨里机长虽然新鲜度不错，可惜均分较为平庸
AA和JR的降临依然保持着高均分和全鲜的好成绩，今年的火星救援，地心引力确实！但根据这两部的表演奖的提名规律，AA依然持续怨妇
TF的夜行动物，同时也是AA今年的双保险之一，新鲜度也达到了89%，均分也有7.2（1/9），虽然不如降临（毕竟villeneuve），水平基本持平于单身男子
同时，石头姐也实力回春，啦啦蓝成为目前口碑除月光外最好的一部作品，番茄新鲜度依然维持在100%，均分8.9的高分(最高曾达到9.3），但避免不了陪跑的命运
MTC口碑一览
Mel Gibson’s Hacksaw Ridge assaults the viewer by surprise, and it turns out to be a lethal blow. The religion-soaked, Australia-shot, true-life story of a decorated conscientious objector from Virginia groans under a first half which seems to deliver one cliché after the next: setting up its broad narrative beats for a payoff that appears to be waving a flag from the get-go. Somewhere around the mid-way mark, though, Gibson draws himself up to unleash hell, hurling the Battle of Okinawa at the viewer in all its bloody fury and delivering a film which turns out to be a potent reminder of sacrifice, heroism, and the power of faith.
This is a dirtier Saving Private Ryan
Set for release in the US through Lionsgate on November 4, Hacksaw Ridge recalls the power of Gibson’s blunt-edged approach – it seeds the battlefields of Braveheart with the faith of The Passion of the Christ. This from-the-heart approach, coupled with a simple, forceful narrative, should see Hacksaw Ridge – the director’s first film in a decade – play extremely well across the religious heartlands of America on its release November 4, and its success there may move it into play in this year’s awards race.
In a troubled year for the United States as it approaches a difficult election, Hacksaw Ridge acts as a reminder of times when being a patriot was easier to define. The Pacific theatre was a devastating arena - the Battle of Okinawa alone lasted for almost three months and resulted in 82,000 casualties – and no film has captured the fury of the campaign there with this much ferocity before (more recent attempts include John Woo’s Windtalkers in 2002, and Terrence Malick’s The Thin Red Line in 1998).
Andrew Garfield shines in a very difficult role as the simple-hearted saint: his Desmond Doss was a naive, poorly-educated Seventh Day Adventist from a troubled family background in rural Virginia who enlisted for combat as a conscientious objector. Fighting prejudice and army abuse to go to the front and serve as a medic, he demonstrated extremes of bravery while never bearing a weapon.
In Hacksaw Ridge, Gibson and his screenwriters Robert Shenkkan and Andrew Knight opt to play it straight down the line. Thus in a not entirely convincing Blue Ridge Mountain setting (the film was entirely shot in New South Wales, Australia), Doss grows up having to deal with his drunken, abusive, battle-scarred father, a bitter veteran of the First World War (Hugo Weaving plays it broad, supported by Rachel Griffiths’ caring mother). An early scrap in which he nearly kills his brother convinces the young boy of the values of pacifism, and he eventually falls cheesily in love with the fragrant nurse Dorothy (Teresa Palmer).
Prompted to enlist in the army by Pearl Harbour as a conscientious objector, Doss insists on his right to serve on the frontline while complying with his personal beliefs, ie, not to kill or bear arms. This will see him being abused by his comrades (Sam Worthington, a likeable Vince Vaughn) and taken to a melodramatic court martial. We may suspect that members of his unit have all helpfully been given nicknames – Hollywood, etc – so we’ll recognise them when they’re blown to bits, but Gibson resoundingly banishes any such cynicism when the First Batallion climbs Hacksaw Ridge.
This is a dirtier Saving Private Ryan. The extended rhythm and sound of war here, the speed and adrenalised mayhem, could come from a Bosch painting of hell. There’s a perfect pairing of experienced action DoP Simon Duggan, a native New Zealander like the editor John Gilbert, and sound design from Robert Mackenzie, all working with Gibson whose experience shows in staging the staggering wide-shot sequences.
Perhaps, ultimately, it isn’t Gibson’s filmic fury that distresses so much, but the fact that it’s all true: from the battleground’s height (400 metres), to the repeated attempts to take it, to the number of men who died and who Doss saved, and, ultimately, to a man’s faith, tenacity and belief in God which resulted in him becoming the first conscientious objector to be awarded the Medal of Honor. Hacksaw Ridge returns to the themes which have professionally and personally motivated 60-year-old Gibson for his entire life; he’s never been subtle, but he’s certainly effective when it comes to delivering his heart-felt message.
This is a dirtier Saving Private Ryan
Set for release in the US through Lionsgate on November 4, Hacksaw Ridge recalls the power of Gibson’s blunt-edged approach – it seeds the battlefields of Braveheart with the faith of The Passion of the Christ. This from-the-heart approach, coupled with a simple, forceful narrative, should see Hacksaw Ridge – the director’s first film in a decade – play extremely well across the religious heartlands of America on its release November 4, and its success there may move it into play in this year’s awards race.
In a troubled year for the United States as it approaches a difficult election, Hacksaw Ridge acts as a reminder of times when being a patriot was easier to define. The Pacific theatre was a devastating arena - the Battle of Okinawa alone lasted for almost three months and resulted in 82,000 casualties – and no film has captured the fury of the campaign there with this much ferocity before (more recent attempts include John Woo’s Windtalkers in 2002, and Terrence Malick’s The Thin Red Line in 1998).
Andrew Garfield shines in a very difficult role as the simple-hearted saint: his Desmond Doss was a naive, poorly-educated Seventh Day Adventist from a troubled family background in rural Virginia who enlisted for combat as a conscientious objector. Fighting prejudice and army abuse to go to the front and serve as a medic, he demonstrated extremes of bravery while never bearing a weapon.
In Hacksaw Ridge, Gibson and his screenwriters Robert Shenkkan and Andrew Knight opt to play it straight down the line. Thus in a not entirely convincing Blue Ridge Mountain setting (the film was entirely shot in New South Wales, Australia), Doss grows up having to deal with his drunken, abusive, battle-scarred father, a bitter veteran of the First World War (Hugo Weaving plays it broad, supported by Rachel Griffiths’ caring mother). An early scrap in which he nearly kills his brother convinces the young boy of the values of pacifism, and he eventually falls cheesily in love with the fragrant nurse Dorothy (Teresa Palmer).
Prompted to enlist in the army by Pearl Harbour as a conscientious objector, Doss insists on his right to serve on the frontline while complying with his personal beliefs, ie, not to kill or bear arms. This will see him being abused by his comrades (Sam Worthington, a likeable Vince Vaughn) and taken to a melodramatic court martial. We may suspect that members of his unit have all helpfully been given nicknames – Hollywood, etc – so we’ll recognise them when they’re blown to bits, but Gibson resoundingly banishes any such cynicism when the First Batallion climbs Hacksaw Ridge.
This is a dirtier Saving Private Ryan. The extended rhythm and sound of war here, the speed and adrenalised mayhem, could come from a Bosch painting of hell. There’s a perfect pairing of experienced action DoP Simon Duggan, a native New Zealander like the editor John Gilbert, and sound design from Robert Mackenzie, all working with Gibson whose experience shows in staging the staggering wide-shot sequences.
Perhaps, ultimately, it isn’t Gibson’s filmic fury that distresses so much, but the fact that it’s all true: from the battleground’s height (400 metres), to the repeated attempts to take it, to the number of men who died and who Doss saved, and, ultimately, to a man’s faith, tenacity and belief in God which resulted in him becoming the first conscientious objector to be awarded the Medal of Honor. Hacksaw Ridge returns to the themes which have professionally and personally motivated 60-year-old Gibson for his entire life; he’s never been subtle, but he’s certainly effective when it comes to delivering his heart-felt message.
昨晚本以为加菲实力回春，没想到竟然比较平庸，基本没啥前途了，希望沉默不要也这样。
降临的均分再更多媒体打分之后上涨了，可喜可贺。
月光依旧满分
萨里的MTC均分要比番茄好不少，谜也许MTC有更多评论之后也会下降吧
降临达到这个目前来看没什么压力，只是观众口碑和票房很难达到马达救援的高度
比较平庸，基本没啥前途了，希望沉默不要也这样。降临的均分再更多媒体打分之后上涨了，可喜可贺。
月光依旧满分
萨里的MTC均分要比番茄好不少，谜
也许MTC有更多评论之后也会下降吧降临达到这个目前来看没什么压力，只是观众口碑和票房很难达到马达救援的高度
喜大普奔！钢锯岭成功回升！
差评是The Playlist 打出的，C(50)
The Film Stage B+
CineVue 3/5
london evening standard 5/5
THR 80
variety 70
TheWrap 65
差评是The Playlist 打出的，C(50)
The Film Stage B+
CineVue 3/5
london evening standard 5/5
THR 80
variety 70
TheWrap 65
Gibson's forceful comeback is a violent drama about pacifism that succeeds in combining horror with grace.————THR
这部暴//力的反//战剧情片成功的融合了惊悚和优雅，是吉布森强有力的回归。————《好莱坞报道者》
这部暴//力的反//战剧情片成功的融合了惊悚和优雅，是吉布森强有力的回归。————《好莱坞报道者》
啦啦蓝迎来第一个烂，而且分非常低，仅有1/4，这家最低只能打0/4
差评来自Film Freak Central的Chaw,对比这个颁奖季，他给moonlight 3/4,arrival 4/4，而且经常打0分，比如爱宠不幸遭遇零蛋，口味比较清奇。分也打的很严格。
derivative in the way that things are derivative when they have no real knowledge of or even maybe affection for the things from which they ostensibly derive 认为本片拷贝别的电影
the picture demonstrates no real knowledge of the Hollywood musical 证明本片对于好莱坞音乐剧没有任何了解
非常homage
Gosling spends the movie acting like he's doing someone a favour when he croons and does a little softshoe. He's brilliant in The Nice Guys because his "puerile asshole" bit gets turned against him. It's less palatable when the bit is his romantic selling point.
批评了高司令的表演，说他只像在帮人忙
Sebastian adorably meets-cute adorably struggling actor Mia (Emma Stone, really good at English for being Chinese, amiright?) in an L.A.黑了石头，说她“作为一个中国人英语说得实在太好”
Chazelle opens with the old CinemaScope logo in the same way that Tarantino opens his films with vintage logos and teasers. The difference is that Tarantino understands the movies he's pulling from and Chazelle doesn't. Homage isn't just playing the notes, or oversaturating the colours. 我觉得这最多只能算致敬吧？认为导演不懂电影，顺从不是照着笔记拍电影或者调色（是调色的意思吗？）
you root for them as actors but could give a shit about their characters. There's a moment where Sebastian puts his hand experimentally on a light pole and the picture tenses in anticipation of his Gene Kelly moment. Then he takes his hands away and puts them in his pockets. La La Land is Step Up 6: Awards Season, and there's not an authentic bone in its three-strip-Technicolor-esque body.
总之这人就是差评了，非常不满意
差评来自Film Freak Central的Chaw,对比这个颁奖季，他给moonlight 3/4,arrival 4/4，而且经常打0分，比如爱宠不幸遭遇零蛋，口味比较清奇。分也打的很严格。
derivative in the way that things are derivative when they have no real knowledge of or even maybe affection for the things from which they ostensibly derive 认为本片拷贝别的电影
the picture demonstrates no real knowledge of the Hollywood musical 证明本片对于好莱坞音乐剧没有任何了解
非常homage
Gosling spends the movie acting like he's doing someone a favour when he croons and does a little softshoe. He's brilliant in The Nice Guys because his "puerile asshole" bit gets turned against him. It's less palatable when the bit is his romantic selling point.
批评了高司令的表演，说他只像在帮人忙
Sebastian adorably meets-cute adorably struggling actor Mia (Emma Stone, really good at English for being Chinese, amiright?) in an L.A.黑了石头，说她“作为一个中国人英语说得实在太好”
Chazelle opens with the old CinemaScope logo in the same way that Tarantino opens his films with vintage logos and teasers. The difference is that Tarantino understands the movies he's pulling from and Chazelle doesn't. Homage isn't just playing the notes, or oversaturating the colours. 我觉得这最多只能算致敬吧？认为导演不懂电影，顺从不是照着笔记拍电影或者调色（是调色的意思吗？）
you root for them as actors but could give a shit about their characters. There's a moment where Sebastian puts his hand experimentally on a light pole and the picture tenses in anticipation of his Gene Kelly moment. Then he takes his hands away and puts them in his pockets. La La Land is Step Up 6: Awards Season, and there's not an authentic bone in its three-strip-Technicolor-esque body.
总之这人就是差评了，非常不满意
collider:B+
http://collider.com/a-monster-calls-review/?utm_source=twitter&utm_campaign=collidersocial&utm_medium=social
恶魔呼唤爆了，好多评价都说这是潘神
http://collider.com/a-monster-calls-review/?utm_source=twitter&utm_campaign=collidersocial&utm_medium=social
恶魔呼唤爆了，好多评价都说这是潘神
楼主：卖女孩的selina
字数：11441字
发表时间：2016-09-03 19:06:00 +0800 CST
更新时间：2017-02-17 22:02:43 +0800 CST
评论数：186条评论
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