Jump to content

Peter T Chattaway

  • Content Count

  • Joined

  • Last visited

Everything posted by Peter T Chattaway

  1. Peter T Chattaway


    I mentioned on Facebook the other day that the makers of Rocketman must be looking at Bohemian Rhapsody's enormous success (over $800 million worldwide! multiple Oscar nominations including Best Actor -- which it could very easily win -- and Best Picture!) and feeling both envious and optimistic about what that film's success could mean for their own film's prospects: Apparently there's an audience out there for 1970s-set British pop-star biopics with LGBT content! Then a friend of mine pointed out that Rocketman is also directed by Dexter Fletcher, the guy who finished directing Bohemian Rhapsody after Bryan Singer ankled the project. So, whoa.
  2. And the winners are... Crazy Rich Asians, The Favourite and Black Panther, the latter two of which are nominated for the Oscar.
  3. Peter T Chattaway


    Aren Bergstrom wrote: : Furthermore, no film has ever been as popular with international audiences. It kind of gave birth to the notion that you should care about the international marketplace as much as a domestic. Oh, I wouldn't say that that notion started with *this* film. Just within James Cameron's filmography, Titanic was the first movie ever to gross over a billion dollars overseas (double what it made in North America), and that was 12 years *before* Avatar.
  4. J.A.A. Purves wrote: : Coming from my evangelical background, the differences between Catholicism and Orthodoxy appeared to be very small compared to the differences between Protestantism and Catholicism/Orthodoxy. Our landing in the Catholic Church probably mostly has to do with our being persuaded by Newman's work on the development of doctrine and our understanding of the doctrine of the universal visible Church. Catholicism and Orthodoxy certainly overlap with each other and *not* with Protestantism on a number of issues. Indeed, my path to Orthodoxy was cleared in many respects by the debates I had with SDG in this forum (and its predecessors) a decade and a half ago. The Orthodox certainly believe in a universal visible Church, though -- this came up in the catechism at my church just yesterday, when someone asked about the differences between Orthodoxy and Protestantism! (my priest grew up Plymouth Brethren) -- so I'm not sure how we'd be different from Catholicism on *that* front. : Put another way, Protestant/evangelical theology rejects salvation "as a process." Instead, salvation must be instantaneous upon the first moment of faith.  A fellow Protestant convert to Orthodoxy once described this as the "punctiliar" sensibility of Protestantism, and especially evangelicalism. I have also eavesdropped on e-mail exchanges between evangelical theologians on the fact that evangelicalism tends to emphasize "justification" *way* more than "sanctification" in its understanding of "salvation".
  5. And the winners are... Bohemian Rhapsody -- Musical, Dialogue/ADR A Quiet Place -- Effects/Foley Spider-Man: Into the Spider-Verse -- Music Underscore So, Bohemian Rhapsody and Spider-Man won everything they were nominated for, and A Quiet Place got one award as well. (Note: Bohemian Rhapsody also won the Cinema Audio Society award, which is equivalent to the Oscar for Sound *Mixing*, yesterday.)
  6. And the winner is... Spider-Man: Into the Spider-Verse! Which *also* won in the 'Music Underscore' category.
  7. And the winner is... Roma! Which wasn't listed here a month ago, but is now listed among the nominees on the MPSE website (and, notably, the title of that film is *not* italicized while all the others *are* italicized, which I assume has something to do with the fact that the title was added to the list sometime after I copied-and-pasted the list here). Anyway, Roma *was* apparently nominated after all, and tonight it won.
  8. And the winner is... a tie between Free Solo, which has an Oscar nomination, and They Shall Not Grow Old, which doesn't!
  9. And the winner is... Overwatch, which I think is a videogame...? Age of Sail won in the 'Special Venue' category, too.
  10. And the winner is... Eighth Grade, which wasn't even nominated for the Oscar. Incidentally, Kris Tapley notes on Twitter that The Favourite, which *is* nominated for the Oscar (and won the BAFTA), wasn't eligible for the Writers Guild award. So, hmmm. If Oscar nominees Green Book, Roma and Vice lost to Eighth Grade, one wonders if they would have also lost to The Favourite, had it been nominated for this award.
  11. And the winner is... Isle of Dogs! That's the second time a guild has recognized Isle of Dogs in this category. Most of the other guilds have swung hard towards Spider-Man: Into the Spider-Verse. Notably, *none* of the guilds have given their top prizes to the Disney-Pixar sequels (although Incredibles 2 and Ralph Breaks the Internet did win a few Annies in categories where Spider-Man and Isle of Dogs weren't nominated for anything).
  12. And the winner is... Free Solo, the only CAS nominee that also had an Oscar nomination.
  13. And the winners are... Vice -- Period and/or Character Makeup, Special Makeup Effects A Star Is Born -- Contemporary Makeup Crazy Rich Asians -- Contemporary Hairstyling Mary Queen of Scots -- Period and/or Character Hairstyling So... Vice won both of the awards it was up for, while the other three films won one award each. (All of the winners had two nominations; none of the films with only one nomination won anything.) This may make Vice the front-runner to win the Oscar. Then again, it may not.
  14. The line about the feather gets me thinking that humans are taking the place of Timothy Q Mouse. I hope I'm wrong about that.
  15. Joel, in your review you wrote: "My theater full of kids and parents was pretty silent, even during a *very* long scene with Wiig’s captured Ruffnut annoying Grimmel until he lets her go." My own theatre was definitely *not* silent during this scene.
  16. Links to our threads on other 21st-century sequels to 1980s movies like Tron Legacy (2010), The Thing (2011) and Blade Runner 2049 (2017) -- and one could arguably add Star Wars: The Force Awakens (2015) to the list, since it was the first Star Wars film to take place after 1983's Return of the Jedi and to feature the principal cast of the original trilogy. And then there is Halloween (2018), which ignored all of the existing sequels and presented itself as a direct sequel to the original 1970s film. Anything else I could add to the list? Anyway. Back to Coming to America. The sequel is coming August 7, 2020. I happened to watch the original film for the first time ever less than a year ago, when I noticed that it was on Netflix. Everyone was talking about the box-office success of Black Panther and how it wasn't *entirely* unprecedented for a movie with a mostly-black cast to be a huge box-office hit. What surprised me, when I looked at the film's box-office stats, was that it actually made more money overseas than it did in North America! That was rare for box-office hits of *any* sort, but especially comedies, in the 1980s. And nowadays, when blockbusters typically make two or three times as much overseas as they do in North America, films with black lead actors continue to struggle to make as much overseas as they do in North America (e.g. Black Panther made $700.1 million in North America and $646.9 million overseas, while Avengers: Infinity War -- which came out only two months later -- made $678.8 million in North America and $1.37 billion overseas; cf. also the Creed movies, which are the only movies in the Rocky series to make less money overseas than in North America, at least going back to 1985's Rocky IV, which is the earliest movie in that franchise that Box Office Mojo has figures for; and then there's the vast majority of Denzel Washington's films...). But Coming to America? $128.2 million in North America and $160.6 million overseas. In 1988. That's *incredible*. Those are Rocky IV-style numbers. (Rocky IV grossed $127.9 million in North America and $172.6 million overseas in 1985.) Incidentally, I was very amused to see that Samuel L. Jackson has a bit part in Coming to America as a guy who holds up a diner. This was six years before he starred in Pulp Fiction, a movie that begins with a monologue about how nobody ever robs diners. (Re: overseas grosses in the 1980s. The ten top-grossing films in North America in 1988 all made over $70 million in North America. Of those, Box Office Mojo does not have foreign figures *at all* for two films, i.e. The Naked Gun and Beetlejuice. The others, with the percentages of their grosses that came from overseas, are Rain Man (51.3%), Who Framed Roger Rabbit (52.6%), Coming to America (55.6%), Big (24.2%), Twins (48.3%), Crocodile Dundee II (54.4%), Die Hard (40.9%) and Cocktail (54.4%). So Coming to America made a bigger percentage of its worldwide gross overseas than *any* other film in the North American top ten.)
  17. And then the film got bumped (in North America, at least; it's been out overseas for a while now) to February 2019. My daughter and I saw this recently and loved it. Definitely better than the second film. The trilogy is kind of significant for us because the first film -- which came out nine years ago! -- marked the first time that I took any of my kids to a media screening. My daughter was four years old at the time. She was eight when I took her to the second film, and the death of Hiccup's father -- at the hands of their pet dragon! -- traumatized her. Now my daughter is thirteen (she and her twin brother turned thirteen just one week ago, I have teenagers now, what is going *on* here), and the new movie, appropriately, is about the passage of time and letting people grow up and become more independent. In a way, the theme of "letting go" is something that this film might have in common with Ralph Breaks the Internet. But where it seemed kind of random and didn't work at all over there, it works very well and very naturally over here, inasmuch as the relationship between Hiccup and Toothless is part parent-child and part friend-friend, and Toothless's relationship with the female dragon -- the "Light Fury" -- challenges the bond between human and dragon in the same way that a person's romantic relationship can complicate that person's relationship with his or her parents or friends, who may not be entirely sure how to bring this new person into the family/friendship dynamic. Darn it, I actually shed a couple tears near the end, as the film worked out what it means to love someone by putting not just that person's needs ahead of your own, but the needs of *the person they love*. The film looked beautiful, and I wish it had been in 3D, as I believe the first movie's preview screening was. (I can't remember if the second movie's preview screening was.) It seems the studios have given up on pushing 3D at their preview screenings -- I had to go back to see Spider-Man: Into the Spider-Verse a second time just to see what those visuals were like in 3D -- and, as a 3D fan myself, I find that a bit disappointing. There are great images here of flight, clouds, storms, flocks of dragons, etc., and if they looked as good as they did "flat", I can only imagine how they'll look once depth is added to the equation. But, y'know, at least this is a film that I *like* and wouldn't mind going out of my way to see again, schedule permitting. More thoughts later, perhaps.
  18. Well. It turns out four of the five nominated films concern children who are imperiled, or die, or are violent in some way. What message is the Academy sending here...? BTW, it occurs to me that there is now a trailer for Skin, which was the only film I couldn't find footage from before (warning: at least one four-letter-word):
  19. Oh, awesome. I had already seen three of the Oscar-nominated shorts online -- two of them are embedded above, and one of them has been on Netflix for a while -- but I just found out that the *other* two nominees are either online now or will be very, very soon. Lifeboat is on YouTube via The New Yorker's channel there: And it was announced just two days ago that Period. End of Sentence. will launch on Netflix this coming Tuesday, February 12; here's a trailer:
  • Create New...