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moiselles

By moiselles
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oxford25

oxford25

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Wish I was going along with these people to to Q&A with Leo today in London

Hope we get some Instagram pix from those who do attend  :excited:  

 

 

Quote

 

geinor styles ?@geinorstyles 19m19 minutes ago

Just had a #luckybuddha beer now off to a Q&A with @LeoDiCaprio #result @TheRevenantmovie #luckygeinor 

 

 

 
  1.  

    And soon we're going to be in the same room (cinema screen) as Leonardo DiCaprio for a Q&A. WHAT IS YOUR SUNDAY LIKE?

 

 

 Wish I had access to this magazine

 

 

deadlinecontenders.jpg

 

Barbie

Tks for Just Jared /Paris pix , along ,with link to Leo video on Instagram & Grace's pix  :D

 

LeoLover

 

Tks for link to Leo's Facebook page :D

 

Jade

Tks for news of  Leo/Revenant /WAFCA nods , as well as , great pix of Leo :D

 

 

 

 

 

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mz_linz

mz_linz

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Thank you ladies for all the amazing updates!!! This is going to be such an exciting week. The SAG nominations are announced Wednesday and the Golden Globe nominations are Thursday! Fingers crossed that Leo will nab both. 

2 hours ago, oxford25 said:

The Boston Film Critics today announced their winners :excited:

 

 

 

YAY!!! We'll find out tomorrow if he was chosen for the DC Film Critics Award:excited:

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katchitup

katchitup

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^Fingers crossed for both.  :thumbsup: 

 

Nice Revenant review from Chris Stuckmann, a really popular Youtube film critic. He always gives very fair reviews, and I've agreed with about every film review hes done! :hehe:  He gives Revenant an A- :chicken:

 

 

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oxford25

oxford25

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Wonderful Revenant review from Emanuel Levy,  he states he will write a longer review in future, as well as devote an article just to talk about Leo's performance in the film

 

I look forward to reading both :excited:

 

 

Revenant, The: Inarritu’s Brutal, Gorgeous Wilderness Tale, Starring DiCaprio in his Most Impressive, Oscar-Caliber Performance

December 6, 2015 by EmanuelLevy
 
 

Darkly haunting, brutally violent, and stunningly produced in its visual and aural design, The Revenant is a brilliant film from first frame to last, boasting an Oscar caliber performance from Leonardo DiCaprio in his toughest role to date.

 

 

Decades ago, Hitchcock had coined the term of “pure cinema,” one that utterly depends on the unique properties of film as a distinctive medium, such as visual imagery, framing, editing, tempo and pacing, all utilized to maximum effect in The Revenant, a major highlight of 2015’s movie year.

Proving (as if there was need to prove) that he is one of the most brilliant and daring filmmakers working in Hollywood (and world cinema) today, Alejandro G. Inarritu has made a brutally bloody revenge film, which is gorgeous to behold.  The tale unfolds as a physical as well as an existential and spiritual journey, the kind of which has seldom been committed to the big screen with such ferocious and fearless vision.

 

 

If there is one film that needs to be seen on the wide screen in a legit movie house, it is The Revenant, in which technical bravura, visual splendor, and meticulous attention to detail define each department and are manifest in each and every shot.

 

 

Auteurist critics (such as myself), while singling out Inarritu’s achievement as director, need to take into an account the contribution of his collaborators, beginning with the Emmanuel (Chivo) Lubezki, whose dazzling imagery even surpass his work in Birdman, for which he won the Oscar Award last year.

 

 

Acting wise, the tale (which, frankly, is not too rich in ideas or themes), is carried entirely on the solid shoulders of three time Oscar-nominee DiCaprio, who here renders his most physical (and reportedly most difficult) performance, greatly enhanced by the extraordinarily large number of close-ups and mega close-up, generously and gracefully granted by Inarritu and Lubezki.  It is simply impossible to imagine The Revenant being made–and achieving such an amazing visceral and emotional power-without DiCaprio’s participation.  (DiCaprio’s full commitment to the part, specific work method, and acting style deserve discussion in a separate column).

 

 

Adapted by Inarritu and Mark L. Smith from Michael Punke’s 2002 fact-based novel (which I have not read), the tale is set over a period of one year (1823-24)  in the lands of the Dakotas, Montana, and Wyoming and Nebraska.  The nominal plot, such as it is, is rather simple–it’s the filmmaking process and its rigorous attention to minute detail that lend greater depth and complexity to the picture.

 

 

Inspired by true events, The Revenant is an epic story of survival on the American frontier.  While on an expedition into the uncharted wilderness, explorer Hugh Glass (DiCaprio) is brutally mauled by a bear, then abandoned by members of his own hunting team. Alone and near death, Glass refuses to succumb.  Driven by sheer will and his love for his Native American wife and son, he undertakes a 200-mile odyssey through the vast and untamed West on the trail of the man who betrayed him: John Fitzgerald (Tom Hardy).

When introduced, Hugh Glass works for the Rocky Mountain Fur Company, guiding beaver trappers into hostile terrain, defined by scarce food and all kinds of dangers, both man-made (warriors of the Arikara tribe attack with arrows) and nature (there’s a scene with a huge grizzly bear that’s bound to be discussed due to its ferocity and darkly humorous closure).

 

Glass is traveling with his teenage son, Hawk (Forrest Goodluck), a descendant of the Pawnee tribe on his mother’s side, to whom he is intimately attached and feels overly protective, especially after his the death of his wife (she is seen in a number of brief flashback) .

 

Led by Captain Andrew Henry (Domhnall Gleeson), one of the more decent guy, the group of trappers comprise diverse men, driven by different motivations. Assuming a major part in the story is John Fitzgerald (Tom Hardy), a cold-hearted, both immoral and amoral mercenary.

 

What begins as a relentless quest for revenge gradually becomes a heroic saga of sheer survival against all odds and a journey towards home that would result in gaining greater self-consciousness, awareness of Nature, and ultimately redemption.

 

Using his considerable imagination, visionary director Inarritu has made an Immersive movie–or rather experiential movie–by bringing unflinchingly to the surface elements of unparalleled beauty, bleak mystery, and numerous dangers of what it was like living in America circa 1823.

 

Part dazzling thriller, part wilderness journey that uses ideas of the classic Robinson Crusoe scenario, The Revenant digs deeply into the human psyche and most primal drives, first for sheer physical survival, then for revenge and justice, and finally for living a life based on dignity and redemption.

 

In many ways, The Revenant is the opposite film of Inarritu’s previous achievement, Birdman, which swept most of the Oscars last year.  Whereas Birdman was interior (almost claustrophobic), heavily dialogue-based, intellectual in the questions that it raised (but had hard time answering), and character-driven, The Revenant is exterior, heavily reliant on silence and sounds (largely caused by Nature), and utterly dependent on its visual imagery to convey its ideas.

 

Inevitable comparisons will be made to the cinemas of Samuel Fuller, Sam Peckinpah, Terrence Malick (who has also relied on Lubetzki for some of his masterpieces), though Inarritu is not as primitive as Fuller, not as concerned with male bonding as Peckinpah, and decidedly not metaphysically meditative or lyrical as Malick.  Innaritu is a blunter filmmaker than those aforementioned, a director committed to pitiless intensity (here physical), grueling cruelty, and willing to push the cinematic envelope to impose his vision.  In the process, he tests and contests the limits of what’s society considers to be human or beastly conduct in the vast and cold wilderness.

 

Innaritu presents the socio-physical-ecological contexts in such striking detail that help understand (if not justify) why most of the characters of The Revenant are driven to madness and insanity, here reflected in the last reel which concerns the anticipated mano-a-mano between Glass and his nemesis, after a long and tense build-up.

A much longer review will be published later

 

http://emanuellevy.com/review/featured-review/revenant-the-inarritus-brutal-gorgeous-wilderness-tale-starring-dicaprio-in-his-most-impressive-oscar-caliber-performance/ 

 

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oxford25

oxford25

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So adorable , from today's Revenant /London screening

 

 

leo.png

 

 

Fash

 

If you go to Variety/HR or any of the award blogs, you can see who all the various critic groups either nominated or selected as winners.

 

However, having said that, as Ms Linz mentioned in her post , the more important information will be who is actually nominated by the big award groups SAG, GG, BFCA, BAFTA as they will be more indicative of who might get an Oscar nod :D

 

Kat

 

Tks for Revenant review video ; I can't wait for Jan 8th !!

 

 

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FashionDream

FashionDream

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Thanks for the answer. I wasn't even aware of Paul Dano, he came out of nowhere,but now I see that he won NY critics and Fassbender won LA critics. I didn't see anymore critics awards but I probably wasn't looking hard enough. I think I bought into the hype too early because just like how Spotlight is winning all the Best picture awards, I was expecting to see Leo win all the best actor critics awards.

 

I really hope Paul Danos doesn't get nominated for the important awards, it's early but he's still starting to scare me. I love when Leo gets Oscar buzz but at the same time it's worrying and stressing me out lol

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