Скандал (Bombshell)

А это вообще что будет то?

А что Терон? Она выглядит в точности как Мегин Келли.

Ради этого сходства на неё вывалили тонну грима, и из-за этого её лицо кажется неестественным

Ради этого сходства на неё вывалили тонну грима, и из-за этого её лицо кажется неестественным

Ещё раз, ты видел Мегин Келли?) Она именно так и выглядит, неестественно и с тонной грима.

Ещё раз, ты видел Мегин Келли?) Она именно так и выглядит, неестественно и с тонной грима.

не выглядит она так.

В смысле, внешнее сходство достигнуто, но по пути заехали в Зловещую Долину.

Вон Дэн выше верно подметил про Бэнкс. Или Мисси Пайл подошла бы

не выглядит она так.

В смысле, внешнее сходство достигнуто, но по пути заехали в Зловещую Долину.

 

Вон Дэн выше верно подметил про Бэнкс. Или Мисси Пайл подошла бы

Не думаю, что это минус в данном случае.

Терон за 5 секунд в лифте сыграла лучше, чем эти две за всю свою карьеру, так что очевидно нет, не подошли бы.

С лицами Кидман и Шарлиз определенно проблемы.

загримировали под оригинал...а Марго кого играет, ноунейма или реального человека?

а Марго кого играет, ноунейма или реального человека?

Вчера был показ для индустрии/журналистов. Реакции вроде положительные,но по большей части про актрис.

Элвуд вещает о перспективах в сезоне.

From an awards season perspective one cannot exaggerate how incedible Theron’s turn as Kelly truly is. Not only does she look hauntingly like Kelly at times, but her performance is grounded with a vocal similiarity that is simply a marvel to experience. It’s not even close to mimicry or some sort of an impression. Hours later we admit we’re still awestruck by her achievement. Moreover, Theron is a lock to earn a Best Actress nomination and in any other year, she’d be a massive frontrunner to win. That being said, it’s the middle of October and AMPAS already appears head over heals for Renee Zellweger’s transformation into Judy Garland in the indie hit “Judy.” We’d argue what Theron does is more impressive, but is it too late to slow down the Zellweger train? We’re open to the possibilities.

 

Robbie, who was also fantastic as Sharon Tate in Quentin Tarantino’s “Once Upon A Time In Hollywood” earlier this year, is even more impressive in this picture. She makes you believe Pospisil was a real life figure in the proceedings (she is, in fact, a composite based on interviews Randolph conducted) and completely nails one of the most emotional scenes in the movie. In theory, she’d also be the top choice to win the Supporting Actress Oscar, but “Marriage Story’s” Laura Dern and (potentially) “Little Women’s” Florence Pugh have a massive say in that race. Simply put, this is arguably the best work of Robbie’s career and yes, that means she’s better here than she was in “I, Tonya.”

 

The third member of the trio, Kidman, is very good, but is the most “supporting” of the three roles. She has a shot of earning her fifth Oscar nomination, but a lot more dust needs to settle in the category before its a given. Of course, double nominations from the same film aren’t exactly rare in this category (it’s already occured nine times this century).

 

As for the rest of the cast, Lithgow is worthy enough to earn a Supporting Actor nomination for his role as Ailes, but that is such a competitive category this season (bloodbath is not an exaggeration) that he might not make the cut. Kate McKinnon, Connie Britton, Allison Janney, Alice Eve, Mark Duplass, Rob Delaney and Malcom McDowell (as Rupert Murdoch, no less) all provide memorable turns with sometimes little screentime. If this isn’t close to the definition of a SAG Awards Ensemble nominee, I’m not sure what is.

 

Randolph’s smart script seems like an easy Original Screenplay nod for the former Oscar winner. That written work along with the acting ensemble and the fact it’s message will hit home to so many makes”Bombshell” seem like a likely Best Picture nominee. Roach’s directorial aesthetic is not as sophisticated as the somewhat similar style Adam McKay exhibited in “The Big Short” (written by Randolph) and “Vice,” but like those nominees the performances and the subject matter should resonate with the Academy.

 

The already legendary Oscar winner Kazu Hiro (“Darkest Hour”) is the maestro behind the transformative makeup that turns Lithgow into Ailes. His colleagues responsible for the rest of the Hair and Makeup departments deserve a nod too (although we easily clocked Theron’s lacefront once if it’s not too late to digitally clean that up Lionsgate…). Colleen Atwood‘s costume design and Mark Richter‘s production design are probably already underrated considering the subject matter and worthy of major consideration. Richter strikingly recreates the Fox News sets and Atwood does wonders recreating the, um, unique Fox News on-air aesthetic.

Simply put, this is arguably the best work of Robbie’s career and yes, that means she’s better here than she was in “I, Tonya.”

Ух ты.

BOMBSHELL! Margot Robbie crashes into the Best Supporting Actress race with a devastating performance, descending from wide-eyed optimism to broken victim masterfully. Theron transforms, but Margot steals the show. Everyone will be talking about this film, that’s for sure.

Margot Robbie should see supporting-actress heat for BOMBSHELL, which gives her a meaty arc from true-believer to potential whistleblower. But the film may also catch heat for the character, since she’s a fictional composite handed the film’s most significant sex-harassment scene

Bombshell is a showcase for actors, starting with Charlize Theron and Margot Robbie. Incredible ensemble and a hard hitting subject. Funny, sharp, one of the best of the year.

The one-two punch Margot Robbie in OUATIH and BOMBSHELL is going to be tough to deny. Watch predictions to shake up this week.

Хм...

К счастью это все таки не драма-драма

Картинка смущает, но может это так задумано, под стерильный вилизанный тв-формат.

Лучшую роль Робби пока не видно

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Милфы Смотреть надо обязательно!