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Chủ đề: Thử chấm giải Oscar cho phim hay nhất!

  1. #1
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    Mặc định Thử chấm giải Oscar cho phim hay nhất!



    Đạo diễn: Ang Lee (Lý An)

    Diễn viên chính:
    Heath Ledger .... Ennis Del Mar
    Jake Gyllenhaal .... Jack Twist
    Anne Hathaway .... Lureen Newsome
    Michelle Williams .... Alma

    Brokeback Mountain

    Both looking for work in 1963, cowboys Jack Twist (Jake Gyllenhall) and Ennis Del Mar (Heath Ledger) are paired up and sent to Brokeback Mountain to help herd sheep for the summer. Finding an easygoing friendship based on mutual hardship, the relationship gets complicated quickly when Jack takes Ennis into his tent one cold night, and the two take their companionship to the next level. Unable to deal with their love for each other, the men reluctantly go their separate ways, eventually finding wives (Michelle Williams and Anne Hathaway) and siring children over the years, but still processing the deep, complex love between them. Periodically reconnecting during visits and getaways, it becomes clear that the difficulty of trying to accept their feelings might eventually unravel them for good.

    Out of a very unexpected place, director Ang Lee has created one of the most affecting romances of the year, along with one of the best pictures. Uncompromising, touching, and surprising, "Brokeback Mountain" crosses all gender and political lines and fashions a demonstrative story about people, not agendas.

    Set against the mountains and prairies of Canada (subbing for Wyoming), "Brokeback" is a lush and visually stupendous western, carefully paced so Lee can get the audience used to the detailed movement of the story. There is great care in depicting the splendor of the titular location, almost reaching a point in which the unspoiled lands are as profoundly moving as the story. Assisting Lee with the script (along with Diana Ossana) is co-writer Larry McMurtry ("Lonesome Dove") who lends the film a strong cowboy pedigree in the day-to-day business that Jack and Ennis attend to.

    As the nights grow colder, "Brokeback" starts to untangle the love story between the main characters; Lee doesn't soft-pedal their sexual adventures, rendering Jack and Ennis almost gladiatorial in the way they forcefully seduce each other. What starts as seemingly furious shoving and wrestling ends up quite the opposite, allowing for a realistic portrayal of confusion and denial, especially on Ennis's part, who is mystified by his own urges. "Brokeback" isn't graphic, and that never seems part of Lee's design. He's making an emotional film, not a button pushing one, which wraps the viewer up tighter into the story.

    Miraculously, the script doesn't waste a moment furthering the mental condition of the characters, efficiently detailing over 20 years worth of growth and neglect in just over two hours. Lee and his editors create a gentle flow to the picture that weaves in and out of heartbreak as Jack and Ennis grow older and lead increasingly complicated lives. Their hearts lie on the mountain, but their responsibilities and fear keep them apart. Lee refuses melodrama and consistently reaches for the most honest, emotionally truthful feeling in every scene. Much like the rodeo bulls Jack rides on the side for money, Lee is faced with a difficult picture that attempts to buck him at every opportunity, yet he always maintains control. "Brokeback" is an incredible piece of direction, even for Lee, who has made a career out of impressive cinema.

    While the performances are uniformly fantastic, nothing can quite prepare the mind for the work that Heath Ledger provides. As an actor prone to overcompensating, Ledger's Ennis is a man of decidedly few words, yet is a thunderstorm of heartache on the inside. This is quite literally a full-bodied performance, using all of Ledger as Ennis thrashes about watching his life fall apart due to his self-loathing, distance, and towering regret. Unable to give himself over to his feelings, Ennis's heart withers and dies, only witnessing moments of happiness with Jack, which allows him to be the man he wants to be without fear of judgment. Saying Ledger is Oscar-worthy here isn't strong enough: this is a career-best performance, and a crucial element to the necessary feeling of frustration that powers the film.

    As the years flow by, and Jack and Ennis try to determine what they mean to each other, "Brokeback" stops being the "gay cowboy film," and begins to represent real love by any standard or example. The film is about long-term connection between humans, in ways most mainstream Hollywood productions have long since abandoned. "Brokeback Mountain" is an intimate story of affection, but it decimates the heart with passion and clarity.
    Lần sửa cuối bởi chutichhtcbk; 13-02-2006 lúc 12:40 PM
    Việc nước là việc lớn nhất
    Nhưng việc giữa người với người không thể nhỏ hơn

    (Lý Chiêu Hoàng nói với Trần Thủ Độ)


  2. #2
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    2. CAPOTE

    Đạo diễn: Bennett Miller

    Diễn viên chính:
    Philip Seymour Hoffman .... Truman Capote
    Catherine Keener .... Harper Lee
    Clifton Collins Jr. .... Perry Smith
    Chris Cooper .... Alvin Dewey
    Bruce Greenwood .... Jack Dunphy
    Bob Balaban .... William Shawn

    "Capote" Movie Synopsis: From Gerald Clarke, AUTHOR of the book CAPOTE: A BIOGRAPHY - "Truman, I've been asked to write your biography. Will you cooperate?"
    From the other end of the telephone there was a short pause and an even shorter answer - "Sure." And so I began.

    I thought my book would be relatively easy to write. I had, after all, written many profiles of famous and talented people for Time magazine - a list that eventually included everyone from Mae West to Susan Sontag, Elizabeth Taylor to Joseph Campbell. I had also done a series on writers for The Atlantic and Esquire. Gore Vidal. Allen Ginsberg, the Beat poet Vladmir Nabokov, the creator of Lolita. P. G. Wodehouse, the comic genius behind Jeeves. And, finally, Truman Capote, who was then the most celebrated writer in America-the author of In Cold Blood, the publishing phenomenon of the sixties and a book that has influenced the writing of nonfiction writing ever since.
    It was that last article that prompted a call from a publisher and my own call to Truman.
    I thought my book would take two years, three at most, and that writing it would be a lark, interviews at fancy restaurants and gallons of good vintage wine at the best table in the house. When Truman Capote walked through the door, headwaiters did everything but salaam in their desire to please. "You might say Truman Capote has become omnipotent," said one newspaper, and for a decade and more he very nearly was.

    I was right about the interviews in fancy restaurants and the giddy gallons of Beaujolais. But I was wrong about everything else. If he had known how long In Cold Blood would take, and what it would take out of him, he would not have stopped in Kansas, Truman later said. He would have driven on - "like a bat out of hell." I sometimes said much the same. What I had not anticipated was the drama that surrounded every minute of Truman's life, dramas in which I sometimes also became a participant. As a result, my own book took more than thirteen years. Some lark! Writing it was the hardest thing I have ever done. It was also the most exhilarating.

    In search of information I crisscrossed the United States and traveled several times to Europe. One of my destinations was of course, Kansas, the setting for In Cold Blood. I came to know all but two of the main characters in Capote, the movie. Harper Lee, who helped Truman with his research and who was soon to have her own hugely successful book, To Kill a Mockingbird. Alvin Dewey, the lead detective for the Kansas Bureau of Investigation, and his wife, Marie. William Shawn, the editor of The New Yorker. And Jack Dunphy, Truman's longtime companion.

    The two I did not interview were the killers, Perry Smith and Dick Hickock. They were executed in 1965. But I got to know them - intimately, I thought - through the forty or so letters they wrote to Truman. Most of their letters run several pages, and they are unsparing windows into life on death row. Truman gave them to me, and Dan Futterman, who wrote the screenplay of Capote, is the only one I've ever let see them. Their dialogue in the movie reflects, almost word for word, what Perry and Dick actually said.

    The movie's script is all Dan's - and a very good one it is - but I was happy to answer his questions, large and small Would Truman have said this? Would he have done that? Bennett Miller, the film's director, and Philip Seymour Hoffman, who plays Truman, came out to my house on Long Island and asked more questions. Did Truman wear his glasses all the time? was one of the questions Philip asked. (The answer: like a lot of other nearsighted people, Truman often took off his glasses when he was sitting down.) So he could reproduce Truman's odd, childish voice - Truman did not lisp, as some writers have inaccurately stated - I gave him audio tapes from some of my interviews. Philip did the rest, and through the alchemy a few very gifted actors possess, he has done more than impersonate Truman. For the length of the movie he has resurrected him.

    In the last week of June 1984 - he died in August - I had lunch with Truman every day on Long Island, followed by long talks at my house or his. "There's the one and only T.C.," he said at one point. "There was nobody like me before, and there ain't gonna be anybody like me after I'm gone." That's true - who could dispute it? For a couple of hours, however, Philip comes close.
    Lần sửa cuối bởi chutichhtcbk; 13-02-2006 lúc 12:44 PM

  3. #3
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    3. CRASH

    Đạo diễn: Paul Haggis

    Diễn viên chính:
    Karina Arroyave .... Elizabeth
    Dato Bakhtadze .... Lucien
    Sandra Bullock .... Jean
    Don Cheadle .... Graham
    Art Chudabala .... Ken Ho
    Sean Cory .... Motorcycle Cop
    Tony Danza .... Fred

    "Crash" Movie Synopsis: A Brentwood housewife and her DA husband. A Persian store owner. Two police detectives who are also lovers. An African-American television director and his wife. A Mexican locksmith. Two car-jackers. A rookie cop. A middle-aged Korean couple…
    They all live in Los Angeles. And during the next 36 hours, they will all collide…

    Challenging and thought-provoking, Lions Gate Films’ "CRASH" takes a provocative, unflinching look at the complexities of racial tolerance in contemporary America. Diving headlong into the diverse melting pot of post-9/11 Los Angeles, this compelling urban drama tracks the volatile intersections of a multi-ethnic cast of characters’ struggles to overcome their fears as they careen in and out of one another’s lives.
    In the gray area between black and white, victim and aggressor, there are no easy answers…
    Funny, powerful, and always unpredictable, "CRASH" boldly reminds us of the importance of tolerance as it ventures beyond color lines…and uncovers the truth of our shared humanity.

    This dynamic feature brings us a distinguished cast including: Sandra Bullock, Don Cheadle, Matt Dillon, Jennifer Esposito, William Fichtner, Brendan Fraser, Terrence Howard, Chris "Ludacris" Bridges, Thandie Newton, Ryan Phillippe and Larenz Tate.
    Lần sửa cuối bởi chutichhtcbk; 13-02-2006 lúc 12:46 PM

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    Đạo diễn: George Clooney

    Diễn viên chính:
    David Strathairn .... Edward R. Murrow
    Robert Downey Jr. .... Joe Wershba
    Patricia Clarkson .... Shirley Wershba
    Ray Wise .... Don Hollenbeck
    Frank Langella .... William Paley
    Jeff Daniels .... Sig Mickelson
    George Clooney .... Fred Friendly
    Tate Donovan .... Jesse Zousmer

    "Good Night, And Good Luck" Movie Synopsis: "Good Night, and Good Luck" takes place during the early days of broadcast journalism in 1950's America. It chronicles the real-life conflict between television newsman Edward R. Murrow (David Strathairn) and Senator Joseph McCarthy and the House Un-American Activities Committee.
    With a desire to report the facts and enlighten the public, Murrow, and his dedicated staff - headed by his producer Fred Friendly (George Clooney) and Joe Wershba (Robert Downey Jr) in the CBS newsroom - defy corporate and sponsorship pressures to examine the lies and scaremongering tactics perpetrated by McCarthy during his communist 'witch-hunts'. A very public feud develops when the Senator responds by accusing the anchor of being a communist.
    In this climate of fear and reprisal, the CBS crew carries on and their tenacity will prove historic and monumental.
    Lần sửa cuối bởi chutichhtcbk; 13-02-2006 lúc 12:47 PM

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    5. MUNICH

    Đạo diễn: Steven Spielberg

    Diễn viên chính:
    Eric Bana .... Avner
    Daniel Craig .... Steve
    Ciarán Hinds .... Carl
    Mathieu Kassovitz .... Robert
    Hanns Zischler .... Hans
    Ayelet Zorer .... Daphna (as Ayelet Zurer)
    Geoffrey Rush .... Ephraim
    Gila Almagor .... Avner's Mother

    MUNICH Movie Synopsis: Three-time Academy Award®-winning director-producer Steven Spielberg directs "Munich," an historical thriller set in the aftermath of the 1972 massacre of 11 Israeli athletes at the Munich Olympics.
    "Munich" recounts the dramatic story of the secret Israeli squad assigned to track down and assassinate 11 Palestinians believed to have planned the 1972 Munich massacre -- and the personal toll this mission of revenge takes on the team and the man who led it. Eric Bana ("Troy") stars as the Mossad agent charged with leading the band of specialists brought together for this operation.

    Inspired by actual events, the narrative is based on a number of sources, including the recollections of some who participated in the events themselves.
    Lần sửa cuối bởi chutichhtcbk; 13-02-2006 lúc 12:49 PM

  6. #6
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    Trên đây là 5 bộ phim được đề cử PHIM HAY NHẤT tại giải OSCAR diễn ra vào ngày 05/03 tới.

    Theo các bạn, với nội dung tóm tắt, với tài năng của đạo diễn, với sự diễn xuất của các diễn viên, phim nào sẽ lên bục vinh quang?

    Xin mời các bạn!
    Lần sửa cuối bởi chutichhtcbk; 13-02-2006 lúc 12:50 PM

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