Oscarweb Round-up: NYFFers react to 'Hugo'
Also: Someone is dumb enough to sue over disingenuous film marketing and 'Dragon Tattoo' adds yet another viral site
Sacha Baron Cohen and Asa Butterfield star in Martin Scorsese's "Hugo."
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So, Paramount took a risk and dropped an incomplete "Hugo" On the NYFF audience last night. Linked in today's round-up is my colleague Greg Ellwood's aggregation of responses. Even though press attendees were asked not to review the film, naturally, thoughts and comments trickled out throughout the night. And I have to say, I caught a big whiff of politeness from most. The general takeaway seems to be that the film starts out rather stiff and uninspired and eventually becomes an interesting if messy ode to film preservation.
Those of us who didn't attend the fest will have to wait another three weeks or so before Paramount has a complete print to screen. But for now, the film has its 15 minutes. Was it worth it? Probably. After all, no one talking about your film is worse than a few talking about it for a fleeting moment. But the line of the film seems to be set. Not to take too much away from the smallest of reactions, but I'm not sensing a strong Best Picture contender in there. Anyway, let's see what's going on in the Oscarweb today...
Greg Ellwood aggregates reactions to last night's secret screening of "Hugo" at NYFF. [Awards Campaign]
Steven Zeitchik wonders whether Hollywood should cut back on Hollywood dramas. [24 Frames]
Woman sues FilmDistrict because "Drive" isn't "The Fast and the Furious" with Ryan Gosling. [Click on Detroit]
David Poland will be mad if I don't note that that story began with his casually conveying an emailed image that landed in his inbox. [The Hot Blog]
Check out an exclusive deleted scene from "Beautiful Boy." [Awards Daily]
Yet another viral website that threatens to drown "The Girl with the Dragon Tattoo" in "cool." [Comes Forth in the Thaw]
The Academy tackles the state of nonfiction. [Oscars.org]
Spare us another conventional take on Dickens. [The Independent]
Alexandra Cheney reports from a NYFF screening of "A Dangerous Method" with Q&A. [Speakeasy]
Tom O'Neil explains how his new user-interfaced Gold Derby works (video in bottom right). [Gold Derby]
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Login or create a HitFix account Login SignupJJ1
October 11, 2011 at 11:33AM EST Reply to CommentAD compiled a huge list of twitter reactions/reviews. And I think the scale is definitely tipped more towards the positive than negative.
I'm not saying BP-time. But a Fall release Scorsese film with heartfelt tone, exquisite prod. values, love-letter status to cinephiles, and good ink for Kinglsey/Cohen can't be brushed aside already, right?
I'd say the reactions are on par with or slightly better than several expected knock-outs from earlier in the festival season.
Kristopher Tapley AD?
October 11, 2011 at 11:37AM ESTI didn't say anything about negative. I said polite. And that's the vibe I got.
JJ1 Sorry, awardsdaily.
October 11, 2011 at 12:36PM ESTOK, I misread ya. I guess I never considered this BP-worthy. So 'polite' or 'mixed' reactions aren't surprising me or upsetting me. I've read lots of glowing, as well. :)
Rashad
October 11, 2011 at 12:00PM EST Reply to Commentthe playlist has tintin clips. looking good and funny
loyal_mehnert
October 11, 2011 at 12:24PM EST Reply to CommentScorsese isn't infallible. I saw Casino and Bringing Out the Dead and Kundun in theatres. The idea that Marty is somehow above making a so-so film is crazy.
I too sensed polite undertones in many of the reactions.
Rashad The latter two I can get but Casino "so-so?"
October 11, 2011 at 1:00PM EST
In comparison to Goodfellas, absolutely. It's 2nd tier Scorsese.
October 11, 2011 at 1:13PM ESTLaura Stewart You bite your tongue there buddy. Casino is one of my favorites. To each his own, right? It's a shame that it reminds so many ppl of Goodfellas (which I totally agree that it does), because right there divides its greatness.
October 11, 2011 at 6:04PM ESTJack
October 11, 2011 at 12:27PM EST Reply to CommentI'm not sure why anyone was ever predicting it for major categories in the first place, but yes, the consensus is pretty true. Though aesthetically beautiful (the sets are incredible) and with its heart in the right place, the first entire hour is quite a slog to go through until that change of pace where Scorsese's truly sincere passion for cinema comes out in a twist that reminded me of the loveliness of Midnight in Paris. But yeah, it is convoluted and I can't imagine it holding the attention span of enough kids for it to beat something like Alvin and the Chimpmunks at the box office this Christmas.