Since it has premiered at TIFF, we would have a lot of reviews/reactons. I think it would be best to start a thread with
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pmfg_pan — 10 years ago(September 16, 2015 05:04 PM)
Just read the heading for each post.
Sometimes you just post the link without saying anything else, like in this post.
http://www.imdb.com/board/21519680/board/thread/248298978?d=248377219#248377219
I really don't understand why you are so stubborn when it comes to using tinyurl? It just means more work for you and then it also makes things less user friendly for the people reading it. -
pmfg_pan — 10 years ago(September 16, 2015 06:25 PM)
Doesn't the heading indicate the subject matter?
Only if I click on it, otherwhise I only see a random tinyurl link.
The point of not using tinyurl is that we can see immediatly on the url what the link is about, without having to click on it. For example, here is the link of the interview you posted before, but this time without the tinyurl. You can immediately read the heading in the url itself and that Indiewire is the site.
http://www.indiewire.com/article/toronto-how-brooklyn-director-john-crowley-avoids-earnestness-in-his-emotion-driven-films-20150915
This becomes specially useful in very big threads, where you try to find an old link that you saw a few weeks before. But with all these tinyurls it becomes like looking for a needle in a haystack. -
zorrodvd — 10 years ago(September 15, 2015 04:37 PM)
THR's Scott Feinberg September 15, 2015 4:14pm
http://tinyurl.com/np48j7r -
purple_lemon — 10 years ago(September 15, 2015 04:58 PM)
There is a lot of glowing praise for 'Brooklyn' it seems and my only gripe is how long I will have to wait until the DVD comes out so I will finally be able to see it.
The Players of The Game are the scum of the earth. -
Steve7216 — 10 years ago(September 15, 2015 07:21 PM)
This is a great article zorro. Let's post it in full:
SEPTEMBER 15, 2015 4:14pm PT by Scott Feinberg
TIFF: Sundance Sensation 'Brooklyn' Surges Back Into Awards Discussion
THR's awards analyst Scott Feinberg explains why John Crowley's film, Nick Hornby's adapted screenplay and especially Saoirse Ronan's lead perf is likely to resonate with the Academy.
In my humble opinion, the movie of the Toronto International Film Festival indeed, a movie for the ages and a probable best picture Oscar nominee is one that was unveiled nine months ago at the Sundance Film Festival, when most Oscar pundits, including me, were busy focusing on last season's Oscar race.
Its name is Brooklyn, it was acquired by Fox Searchlight in Park City and it's a stunning drama about the experience of people who immigrated to America in the 1950s in other words, many of our parents and grandparents and specifically about a young Irishwoman who leaves behind everything she has ever known, including her beloved mother and sister, in order to pursue a better life in America, but finds herself torn between two worlds and two men.
Based on Toronto audiences' responses to the film laughter, tears and voluminous applause I know that I am not alone in feeling that the film is a very special one; in fact, I wouldn't be at all surprised to see it win the fest's People's Choice Award, which has helped to propel a number of other films to very gratifying awards seasons.
Adapted from Colm Toibin's 2009 novel by Oscar nominee Nick Hornby (whose An Education and Wild are also about strong women) and directed by John Crowley, Brooklyn features a number of excellent performances, none better or more central to its success than the one given by 21-year-old Saoirse Ronan.
Previously Oscar-nominated at the age of 13 for her supporting performance in 2007's Atonement, Ronan has always displayed prodigious talent, even in schlock like 2009's The Lovely Bones. With Brooklyn, she has finally found a role truly worthy of her talents Eilis, who evolves and blossoms and possesses your heart and if she doesn't get a best actress Oscar nomination, the Academy shoul2000d close up shop.
Also excellent in supporting roles and worthy of serious Academy consideration are Julie Walters as the woman who runs a boarding house at which Eilis resides in America; Jim Broadbent, as a Barry Fitzgerald-esque priest who helps her acclimate to her new country; Emory Cohen, her Italian-American love interest; and Domhnall Gleeson, her Irish love interest.
Brooklyn, which will be released in the U.S. on Nov. 6, is certainly not the first great film about the immigrant experience see The Godfather: Part II (1974), In America (2002), Like Crazy (2011), The Immigrant (2014) and many films in-between, not to mention TV's Boardwalk Empire but what makes it particularly noteworthy, to me, is that it does so without a gimmick of some sort. Nobody is murdered, prostituted or deported in this film; rather, it depicts good and decent people, with believable and relatable motivations, trying to navigate the treacherous terrain of the human heart. And that is much harder to pull off, let alone to pull off as charmingly and movingly as Brooklyn.
(It's great to read such a ringing endorsement from Scott Feinberg. He was crazy about the film personally, but he knows what appeals to the academy members as a result of his specialized coverage of the awards' season for The Hollywood Reporter. He also mentioned the strong audience reaction to the film at his screening. This is the same thing we heard when the film screened at Sundance. All really good news.) -
jlent — 10 years ago(September 15, 2015 06:00 PM)
Just to break us out of the bubble. (Don't worry, Brooklyn's up there):
Every year a number of films premiere at the Toronto Film festival in hopes of obtaining Oscar buzz and starting out early in the awards race.
However, as usual a number of films disappoint and end up losing steam at the festival. Distributors end up changing their strategies and focusing on better received films. Already four days into the festival, that has been the case with many Oscar films.
One of the most anticipated films of the festival was by far "Freeheld" starring Ellen Page and Julianne Moore. The movie was heavily touted as a Best Actress and Best Supporting Actress contender for both actresses. However, the film was met with a lot of criticism and, while the actresses obtained raves, bad reviews always hurt Oscar chances. Last year the Best Actress field was extremely criticized for its lack of contenders and, as a result, Jennifer Aniston was able to enter the race with her heavily criticized "Cake." However, when it came down to the Academy, Aniston's film was overlooked for the well-respected "Two Days, One Night," which obtained Marion Cotillard her second Oscar nomination. With a crowded Best Actress field, Moore and Page will have a lot of work to do in order for the Academy to consider their work.
Also failing to make strides was "I Saw the Light." The Sony Pictures Classics release has been under the radar for some time but there was still an expectation that it could be an Oscar contender. The film stars Tom Hiddleston and Elizabeth Olsen, two actors who were getting early buzz. The lackluster marketing on Sony's part was likely a signal of how the film would turn out. Last year Sony was active with three Oscar contenders, "Foxcatcher," "Whiplash" and "Mr. Turner," all of which went to every major festival and went on to get Oscar nominations. This year is not turning out to be the same. "I Saw the Light" was something that most critics disliked. Like "Freeheld," the leads got good notices but that will surely not hold up, especially with the ever-crowded Best Actor category.
Another film that was expected to be a big contender was "About Ray." However, most critics dismissed it for being overly simplistic in transgender topic. Starring Naomi Watts, Susan Sarandon and Elle Fanning, the movie's September release was definitely a sign of what the Weinstein Company thought of it in terms of Oscar success.
David Gordon Green's "Our Brand Is Crisis" also opened to mixed reception as it won Sandra Bullock plaudits but the film itself was met with reserved reaction. That is not very surprising given the fact that Warner Bros. programmed it late into its release schedule. Last year Paramount attempted the same ploy with "Men, Women and Children" as the company dated the film a few weeks before Toronto. The result was a critical and box office flop. "Our Brand Is Crisis" may receive mixed reviews but with Bullock powering the film, expect it to be a box office hit if not an Oscar contender.
One film that was met with reserved reaction was "Dheepan." The film remains polarizing especially after winning the Palme d'Or at the Cannes Film Festival. While France has not selected its Oscar contender, this film may not be the best choice, especially if critical reception is not great as other foreign film contenders.
However, the news was not sour all around. "Trumbo," starring Bryan Cranston, opened to warm reception as did "Truth" starring Cate Blanchett and Robert Redford. However, both films are still under the radar lacking true buzz. Maggie Smith's "The Lady in the Van" was also received with exception reviews. However, like "Truth" and "Trumbo," it still needs strong critics reception in order to get into the Oscar conversation.
"The Martian" made an impressive debut with many stating it was Ridley Scott's comeback film and this year's "Gravity" and "Interstellar." It will be interesting to see if Scott is finally able to return to the Oscar conversation after so many years of making sub-par and terribly received films.
Many festival favorites continued to gain traction including "Brooklyn" by Fox Searchlight, "Black Mass" with Johnny Depp, the Netflix drama "Beasts of No Nation," Andrew Haigh's "45 Years" with Charlotte Rampling, and Tom Hooper's "The Danish Girl." "Son of Saul," "The Club," "Room" and "Spotlight" were among winners as well at the festival.
There are still a number of films that have yet to premiere so it will be interesting to see which film ends up winning the People's Choice.
http://www.latinpost.com/articles/79319/20150915/toronto-film-festival-2015-who-winners-losers-far.htm -
canvro — 10 years ago(September 16, 2015 12:14 PM)
I enjoyed so much this review:
Brooklyn Might Be The Most Legitimately Touching Tear Jerker Ever
http://uproxx.com/filmdrunk/2015/09/brooklyn-movie-review-tiff/ -
Steve7216 — 10 years ago(September 16, 2015 04:49 PM)
Nice to see you back canvro. This review deserves a full posting:.
Brooklyn Might Be The Most Legitimately Touching Tear Jerker Ever
BY VINCE MANCINI 09.16.15 #FILMDRUNK REVIEWS #MOVIE REVIEWS #TIFF 2015
Brooklyn-Saoirse-Ronan
TIFF
Brooklyn, is pretty good, I guess, if you like adorable Irish people and trying super hard not to cry. From director John Crowley, adapted from the Colm Toibin novel by High Fidelity author Nick Hornby, it stars Saoirse Ronan as a Eilis Lacey (thats EH-lish), a quiet, smart Irish girl who emigrates to the US in the 1940s (guess which city!). Even if youre not Irish (and Im not, thank God) its basically a coming of age tale about your grandparents, and as soon as you recognize something personal in it (for me it was Eilis eye-talian love interest played by Emory Cohen, managing to seem suave and fashionable even with his pants pulled halfway up to his nipples, simultaneously evoking both my grandfathers) it gets harder and harder not to turn into a blubbering mess at every turn. I felt not just charmed, but beaten. This movie played me like a marionette.
I think I went in half expecting some dour slog about the sad plight of dirty-faced immigrants (The Immigrant, say, which is the relentlessly somber snooze I assume people are thinking of when they say they dont like period pieces), and instead I got an engrossing love story mixed with a period Irish Facts of Life.
When she arrives in Brooklyn, Eilis moves into a boarding house with four other dishy Irish girls and an irascible, scolding headmistress with whom she eats dinners every night. Incredibly, all of them are believable, and the dinner scenes are consistently laugh-out-loud funny and frequently touching (also, incredible hair). Theres hardly a scene in Brooklyn that isnt incredibly touching. Its exhausting. Just when you think youre done holding it in, theres a sad old Irishman who built the Brooklyn Bridge singing a heartbreakingly beautiful Irish song in a soup kitchen on Christmas. GREAT JOB, BROOKLYN, THERES A GROWN MAN IN THE AUDIENCE CRYING AGAIN, IS THIS WHAT YOU WANTED?
Characters struggle and strive, they stay positive, think big, love deeply and hardly anyone swears or has pre-marital sex. Somehow, it works. The meanest joke in it is about no one wanting to hang out with the new girl at the boarding house, a frizzy-haired ginger whose personality (and accent) is as bracing as her hair. Part of the reason Brooklyns inherent wholesomeness actually works stems from the fact that it mostly depicts a generation the way we want to see them, during a time that seems especially exciting (booming post-war America). Brooklyns other secret, which may not be a secret at all, is that its characters, with the exception of maybe one, are all clever and honest, good people trying to survive and do right by each other (which can sometimes be so hard). A charming movie about charming people, imagine that.
Emory Cohen plays a love-struck, secretly sensitive, sorta meatheadish Italian plumber perfectly, with Domhnall Gleeson as his upright Irish bartender counterpart. With, of course, Saoirse Ronan holding down the fort the whole way through. I never appreciated her before, and I think I subconsciously held Atonement against her (I HATE Atonement), but shes charm personified here. She has the ability to make her face read skeptical while her big blue eyes scream romantic, a truly endearing combo.
Brooklyn doesnt need to turn anyone (almost anyone) into an evil villain; being torn between two worlds is conflict enough. Brooklyn makes you feel that conflict, even if youve never experienced it yourself (can Nick Hornby adapt every novel from now on?). In stereotypical Irish fashion, Brooklyns true villain is generational guilt (its also stereotypically Italian, Catholic, Jewish actually, Mom guilt is probably pretty universal).
Brooklyn drives home the true difficulties of emigration without anyone having to join street gangs or turn tricks or cough blood into worn handkerchiefs. Without going to just about any of the clich places these kinds of stories normally go. Emigration is hard, but not tragic, liberating, but not without sacrifice, and at a certain point, inexorable.
Im not usually drawn to things that make me cry (stop calling me, Dave) but with Brooklyn I see the appeal. A movie this sweet and bighearted makes you feel not just entertained, but like youre a better person just for liking it. Even if youre just some beep who happens to be watching a really good movie. And Brooklyn is close to perfect.
Grade: A+ -
Steve7216 — 10 years ago(September 16, 2015 06:14 PM)
I understand what you're saying. However, an indeterminant number of people will read these reviews, and the writer in question must realize the words may reflect poorly on his/her reputation should they be ultimately viewed as silly or ridiculous at some future date. The review indicates real passion and conviction on the writer's behalf.
I feel at this time the reviews of the film and her performance in particular have gone as well as we might have expected. -
Poetswan — 10 years ago(September 16, 2015 05:57 PM)
In this site they discuss possible nomines for the oscars:
http://awardswatch.com/forums/showthread.php?38454-Best-Actress-September-II -
zorrodvd — 10 years ago(September 16, 2015 06:42 PM)
LFF 2015: The 11 Films To Watch
The 2015 edition of the BFI London Film Festival is set to celebrate feisty females, as festival director Clare Stewart declared it the year of the strong woman.
Clare gives her views on the lead actresses from 5 of those films:
Suffragette
Suffragette is an urgent and compelling film made by British women, about British women who changed the course of history and it is, quite simply, a film that everyone must see,.
Carol
Carol is a deeply romantic, emotionally honest love story and is also cinema at its most intoxicating and immaculate. Its Cate Blanchett and Rooney Mara falling in love.
Brooklyn.
Saiorse Ronan gives such an extraordinary performance in the heart-wrenching film Brooklyn, which is based on the Colm Toibin novel.
Steve Jobs
Kate Winslet plays Joanna Hoffman in the Steve Jobs biopic, which is the closing film for the festival. This is a really stunning performance she is the person who can hold her own against that iconoclastic leader (Jobs).
Room
Its an extraordinary performance by Brie Larson as a woman whos been living in captivity and bringing up her child, who was birthed by her kidnapper,. -
Steve7216 — 10 years ago(September 17, 2015 10:38 AM)
BROOKLYN plays TIFF 2015
by RYAN MCNEIL on Sep 15, 2015 7:00 pm 1 Comment
ronan & cohen
Many of us in the world owe a great deal to our ancestors for daring to dream a little bigger. Once upon a time, they left behind everything they knew and went out into the great unknown in search of a better life and better opportunities.
Whats more, they often did so when those around them didnt think they couldwhich might have been the greatest challenge of all.
BROOKLYN is the story of Eillis (Saoirse Ronan). The second-born daughter of a single mother in a quiet Irish town, Eillis longs to move to America and seek better opportunities eventually getting her wish. Doe-eyed when she first arrives, she is shepherded into life in America by her boarding house-mother (Julie Walters), and the parish priest (Jim Broadbent). She eventually shakes off a bad case of homesickness and falls hard for an Italian boy named Tony (Emory Cohen). The two fall deeply in love and seem well on their way to building a life together, until a family emergency calls Eillis back to Ireland, and finds her seriously considering not going back.
Theres a candy-coloured gloss to BROOKLYN; a honey tinted glow that serves its characters well and romanticizes the era. The look and the tone it conveys gives the film a bit less bite than it may have otherwise had, but it does a lot to play up the romance at the centre of the story and the actress that carries it all.
We never want to think about the prejudice and racism that would have been thrown at a woman like Eillis, we never want to think about how many decisions were made for a character like Eillis. We want to think about the way love helps us grow, and the way the past always seems more romantic. What better way to do that than to pan across bustling lunch counters and sweep through the lobby of a 1950s movie house? How better to look upon our heroine as a beacon (and lord-ee, does Ronan play an amazing beacon) than to make her resplendent in vibrant shades of green, yellow, and pink?
Theres really nothing wrong with that, its just a wish that the film dialled down the sweet and pumped up a bit of the bitter.
BROOKLYN is at its best when it questions our notions of home. When Eillis first gets to America, she feels so far away from what she knows and life as she knows it. Home is an ocean away at that moment. When she eventually returns to Ireland, we can see how differently she now sees it and what life in America with Tony has meant to her. Home is no longer associated with the place she grew up. BROOKLYN sees that the search for a place we can feel most ourselves and most vulnerable isnt defined by our papers or a parse of land.
We forget that sometimes as we muddle along, so its wonderful that films like BROOKLYN exist to tell us who we are and remind us of who we were.
http://tinyurl.com/pzhtbqj -
Steve7216 — 10 years ago(September 17, 2015 03:31 PM)
Before posting the review, I'd like to provide some context. During Sundance, I e-mailed Jeff to inquire about whether he'd seen Brooklyn. The next day he posted and admitted he messed up by seeing a documentary instead. Honestly, I thought it was just a coincidence. Not this time. I e-mailed him yesterday and asked if he was going to give Brooklyn a full review and also if he'd actually seen it at Toronto. Just a while ago he posted a wonderful review. He must take good care of his readers.
Back to Brooklyn
I didnt see John Crowleys masterful Brooklyn (Fox Searchlight, 11.4 limited) here in Toronto, but in Los Angeles a couple of weeks ago. I had initially watched it on a third-generation dupe DVD, but even under those crummy conditions the internals were unmissable. Brooklyn is a gentle, perfectly judged, profoundly stirring romantic classic not just set in the early 50s but shot, timed, cut and performed in a way that approximates the aesthetic st5b4andards of that era. Its an amber time-capsule movie with a pulse and what feels to me like a real Irish heartbeat, and a feeling of things blooming and beginning and modest people trying to do the right thing.
Brooklyn could have been released in 52 alongside High Noon, Singin In The Rain and The Bad and the Beautiful and audiences would have nodded and applauded and said the same things people are saying now This is a film I could take my mother to, but its good enough to satisfy the toughest, most cynical criticsa rooted love story, a film about decent and believable folk as well as tradition, discretion, real love and 1950s Brooklyn family values.
A good movie doesnt have to go wham-bam-kaboom and made audiences go holy beep just happened? to earn a seat at the Best Picture table, and this is one such occasion. Theres a time and a place for every kind of film, and thank God an effort like Brooklyn has come along a fine little reminder of the pleasures of emotional simplicity served up in a low-key, no-bull fashion. Cutting-edge cognoscenti might be looking for something flashier or jizzier but people who know from quality will presumably recognize and warm to Brooklyns timelessness. A Best Picture nomination seem assured, as I noted last month.
And there can be no doubt that Saoirse Ronans performance as Elis Lacey, a young Irish immigrant torn between tw2000o nice-guy suitors, is solemn and understated and quietly mesmerizing, and therefore a near-lock for a Best Actress nomination.
Ditto Crowley for Best Director and Nick Hornby for Best Adapted Screenplay. Yves Belangers elegant cinematography also warrants a nom.
Brooklyn is basically about young Elliss journey from Ireland to America to start a new life, and then falling in love with Tony Firello (Emory Cohen), a kindly Italian plumber of 25 or thereabouts who wants to marry her and build a home and start a family. But then she returns to Ireland to mourn the death of her sister, and soon after feels the pull of the heartland and wonders if she should maybe re-think her situation and stay with her own ones. Should she choose an American future or an Irish past?
I have only two beefs with the entire film.
One involves the pairing of Ellis and Tony a perfect match that seems right all around. Except during their first date its clear that Ronan is a good three or four inches taller than Cohen, and right away youre thinking why did they cast such a short guy? Women generally prefer men who are at least as tall if not taller than their own height, certainly in the 50s, and yet they cast a guy who could play a jockey or star in a biopic of Pee-Wee Reese. Why? To what end?
The other problem happens at the end of Act Two, and it involves what anyone would call a kind of faithlessness. When Ellis returns to Ireland she starts seeing Domhnall Gleesons Jim Farrell, an eligible, well-dressed young man who is clearly falling in love within minutes of their first meeting. And hes not the only one. Its as if the word has gone out to the entire population of Ireland to roll out the red carpet in every way imaginable so as to change Ellis mind about marrying Tony and persuading her to stay.
And as this began to happen I was telepathically saying to Ellis, Wow, change your mind much? Youve got a really good guy back in Brooklyn who worships the ground you walk on, and youre thinking about blowing him off because of a little Irish sentimentality about the homeland? And because Gleesons character has money? Flightyness is not an attractive quality, girl.
Other than these quibbles Brooklyn is as good as this sort of thing gets.
http://tinyurl.com/p5hde7o -
Steve7216 — 10 years ago(February 21, 2016 04:57 PM)
There are still great tweets every day about Brooklyn and her performance. I stopped posting them for a while partly because there were so many it was hard to keep up. Here are some recent ones:
Clayton VValter @schmvngpctrs 1h1 hour ago
A second viewing of BROOKLYN has confirmed for me that Saoirse Ronan has the best face in the movie business.
^The above guy says he works in the industry and is an aspiring screen writer.
This Charming Flan @keepthemuse 1h1 hour ago
In case you wondered, BROOKLYN is still beautiful, and Saoirse Ronan conveys the whole world with just a few blinks against a still frame.
Lance Mannion @LanceMannion 3h3 hours ago Bronx, NY
More on Brooklyn: Can't even begin to tell you how good Saoirse Ronan is so I'll just settle for saying the entire cast is wonderful.
Dylan Alexander @DylanJAlexander 2h2 hours ago
I absolutely LOVED Brooklyn! Such a beautiful and heart-warming film with an incredible performance by Saoirse Ronan! Highly recommend
Christina Newland @christinalefou 4h4 hours ago
Thinking about Emory Cohen and Saoirse Ronan in Brooklyn and how incredibly lovely their romance is.
Taylor L @taylorshayna 18m18 minutes ago
If you haven't seen Brooklyn, do yourself a favor and find a theater playing it and go see it now. So good. #SaoirseRonan #Booklyn
Liam Borrett @LiamBorrett 41m41 minutes ago
Saw BROOKLYN at last today. Outstanding. Get Saoirse Ronan an Oscar NOW.
^This guy describes himself as a theater director and playwright.
The Gregor @Gregor_G 8h8 hours ago
I am still so very moved by having watched the film #Brooklyn yesterday. Truly beautiful storytelling. -
Steve7216 — 10 years ago(February 22, 2016 08:06 PM)
Here is an excerpt from Rob Samuelson of The Sun Times Network written today:
The performances are all excellent, but Saoirse Ronan stands out. She earned a nomination for Actress in a Leading Role for a reason. Hers is a subtle but noticeable physical transformation that dovetails with Eilis internal journey. She begins Eilis American lb68ife by taking small, unsure steps, keeping her head down and hoping not to get in anyones way. She doesnt know what to do with her life, but as she finds her aptitude in night school to become a bookkeeper, she begins to look forward more often.
She makes direct eye contact when talking with people. She learns what she wants and she begins to understand how to get it. The movie is, in part, a grandiose coming-of-age story, but its subtler, more graceful elements, as portrayed by Ronan in particular, are what separate it from other tales of this variety.
For the entire piece:
http://national.suntimes.com/national-entertainment/7/72/2639066/oscars-watch-case-brooklyn/