Jennifer Aniston
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You've gotta be kidding me with the "people post on purpose to antagonize the fans!!" lol. Not true, at least not from what I see. People post opinions and stories yes. Personally I don't even look to see who is posting what, just the content.
And you have posted in the B&A thread, more than 10 times. Before I get flamed for having "too much time" on my hands, which isn't true, it took less than a second to see, something to do while having my morning coffee while reading global news stories etc.
I was wondering why she hadn't spoken about her other film, "Life of Crime". Now I know. Its a dud. A dog. And she's bad in it (and I quite like a lot of her films)
She'd best hope members of the Academy skip it. It will derail (no pun intended) her Oscar chance like "Norbit" did for Eddie Murphy in "Dreamgirls".
She'd best hope members of the Academy skip it. It will derail (no pun intended) her Oscar chance like "Norbit" did for Eddie Murphy in "Dreamgirls".
"Life of Crime" is 65% on RT, better than "Cake"
http://www.rottentomatoes.com/m/life_of_crime_2013/
From Lainey Gossip:
Its been a full-on assault for two months now and its working, shes gaining. Were four days from the Golden Globes, a week from Oscar nominations, and shes still gaining, still working. With help. With a lot of help.
Yesterday it was over at Arianna Huffingtons house. Huffington hosted a lunch for her friend Jennifer Aniston to celebrate Cake. And they invited cameras. Theroux was there to support her. So was Chelsea Handler. Even Salma Hayek showed up. So many of them are showing up. When Sandra Bullock won the Oscar a few years ago for The Blind Side, they gave her a standing ovation. And this is how she opened her acceptance speech:
Did I really earn this or did I just wear you all down?
What would Jennifer Aniston say in her acceptance speech?
http://www.laineygossip.com/Jennife...-as-friends-continue-her-Oscar-campaign/32313
Its been a full-on assault for two months now and its working, shes gaining. Were four days from the Golden Globes, a week from Oscar nominations, and shes still gaining, still working. With help. With a lot of help.
Yesterday it was over at Arianna Huffingtons house. Huffington hosted a lunch for her friend Jennifer Aniston to celebrate Cake. And they invited cameras. Theroux was there to support her. So was Chelsea Handler. Even Salma Hayek showed up. So many of them are showing up. When Sandra Bullock won the Oscar a few years ago for The Blind Side, they gave her a standing ovation. And this is how she opened her acceptance speech:
Did I really earn this or did I just wear you all down?
What would Jennifer Aniston say in her acceptance speech?
I honestly don't know how. Out of all the Elmore Leonard adaptations to the big screen, this is the worst.
I can't imagine how Cake would be less impressive.
She did do a good job. I saw the movie, which was very blah, in my opinion, but she was good.
Being good isn't enough to get you an Oscar nod though. She hired an Oscar strategist to get her the Oscar nom and she's getting her friends to help with the push. That's what they do in Hollywood, it's not just her.
This article appeared in Slate yesterday, but I've been saying all this for 2 months.
It's not a jab at Aniston, it's the way the game is played, and she's playing really hard.
http://www.slate.com/articles/arts/...turned_a_bad_movie_into_a_likely_oscar.2.html
It's not a jab at Aniston, it's the way the game is played, and she's playing really hard.
JAN. 7 2015 1:57 PM
Let Them Eat Cake
How a terrible Jennifer Aniston movie turned into this year’s Oscar Cinderella story.
The Oscars are a spectacle of such hollow pageantry that they make politics look like a meritocracy, and yet it’s nevertheless both flabbergasting and vaguely sinister that Cake—a smarmy and self-satisfied drama starring Jennifer Aniston as a woman suffering from chronic pain—has become the Cinderella story of this year’s awards season. Cake is so unappetizing that Cinelou Films (the upstart production company responsible for its financing) had to grow its own distribution arm in order to ensure the film’s release, effectively buying its own product. And yet, after three months in which the movie didn’t chart on a single critic’s top-10 list and remained hidden from public scrutiny following its Toronto International Film Festival debut, Jennifer Aniston’s unvarnished lead performance has received SAG and Golden Globe nominations for Best Actress. How on Earth did one of the very worst films of 2014 become a near–shoo-in for an Oscar nod?
The answer has to do with the bizarre economics of the independent film world, with the work that a star is willing to put into her best shot at acting immortality, and with the grim spectacle of awards season itself. It begins with Pete Hammond, a humanoid pull-quote machine whom the studios pass around like the office stapler. The morning after Cake’s TIFF premiere, Hammond—perhaps in the spirit of the ringer-filled Toronto audience that gave Cake a standing ovation before the screening—filed a Deadline Hollywood post that began: “Jennifer Aniston – Oscar contender? You better believe it.” And everyone has. Cake, directed by Daniel Barnz, currently clocks in at 44 percent on Rotten Tomatoes, but Aniston has remained a fixture in the Best Actress race since Hammond fired the starting gun.
Cake, one of those cowardly little movies about an abrasive character who turns out to be so eminently redeemable that his or her hostility feels like a cheap costume (thus belittling the reason for it), tells the story of a woman named Claire Simmons, who suffers from chronic pain due to a mysterious accident. Claire’s face is carefully scarred in the compromised sort of way that codifies Aniston’s performance as brave enough to backbone an awards-season narrative but not so hideous that people wouldn’t pay to look at it for 100 minutes.
Critic Wesley Morris, in his fair-minded and often admiring assessment of the film, wrote that “t takes the entire movie to explain why she has gashes on her legs, chest, and face, and why her heart and mind are so deeply wounded. But you’d have to be from outer space not to understand what’s going on here.” Cake’s refusal to address the (howlingly predictable) cause of Claire’s pain effectively reduces the grieving process to a parlor game. Much has been made of the fact that, aside from her fake scars, Aniston doesn’t wear any makeup in Cake, but this is no vanity-free performance. By lamely attempting to hide the circumstances of Claire’s accident rather than exploring the full extent of their emotional toll, Cake ensures that its most relevant dramatic question becomes: Why is this beautiful person slightly less beautiful than we’ve been conditioned to think she should be? What unspeakable event could have caused this atrocity?
Morris continues: “What’s really going on is that Aniston needs to be part of someone’s Oscar conversation.” Cake is not a reflection of a system in which films exist for awards more than awards exist for films—it’s a product of it. Cake, more brazenly than any other movie in recent memory, reveals that the Oscars are a sport, and—like all sports—they’re won by whoever wants it most (provided the player has deep pockets, as this league has no salary cap). And Cinelou and Jennifer Aniston really want it. “Let’s hope the fourth time’s the charm,” she said at the Toronto post-screening Q&A, referring to the number of times she’s attended awards-season launchpad TIFF.
In a Variety listicle called “Six Reasons Jennifer Aniston Could Win the Oscar for Cake,” the actress’s campaigning efforts are at the top of the list. “She’s been coast-to-coast for screenings, interviews and events,” the piece notes, “and she is always smart, passionate and charming.” (Reason No. 7: Variety is publishing articles like “Six Reasons Jennifer Aniston Could Win the Oscar for Cake.”
To shore up her chances, Aniston has reportedly retained the services of Lisa Taback, the entertainment consultant who helped push The Artist to its Best Picture win over the more deserving likes of The Tree of Life, Moneyball, and The Human Centipede II (Full Sequence). And just in case you still couldn’t tell that she means business, Aniston even took the time to discuss her character with Dr. Oz, America’s leading expert on chronic pain.
So it’s easy to understand why Entertainment Weekly wrote that Aniston “elbowed her way” into the Oscar conversation, but that assessment isn’t entirely fair. After all, Aniston is hardly the first actor to campaign for an Oscar, and she clearly believes in the film and recognizes that any attention paid to her helps the movie. Her work in Cake flatters the material with its nuance and sensitivity, scraping along the script’s low ceiling, and she’s been brilliant before in a variety of films that run the gamut from subdued tragicomedy (The Good Girl) to sublime absurdity (Wanderlust).
But the savvy folks at Cinelou can’t afford to worry about that. They recognized from day one that an Oscar nomination would provide a crucial boost for their fledgling company, and they’ve done everything they can to make it happen. To hear Cinelou exec Courtney Solomon tell it, an Oscar nomination was less of an aspiration than it was a business plan. When asked if the company saw an opportunity to fill Hollywood’s void of star-driven films made for less than $10 million, Solomon pointed to last year’s Oscars: “So many of the films nominated were done outside the studio system and then ended up with various releases and ended up at the Oscars. It doesn’t seem like the studios are making these films. ... We just saw an opportunity there.”
And while that may seem like a cravenly cynical way of looking at it, Solomon is just playing the game, and can be held only so accountable for its rules. That Cake is such a risible film makes Cinelou seem like the bad guys here, but the fact of the matter is that Cinelou is exactly the kind of thing the film industry needs: well-funded production outfits dedicated to midbudget films that allow known stars to take risks. Judging by the promise of their next project, an Iraq war drama starring Benedict Cumberbatch and directed by the exceptionally gifted Ain’t Them Bodies Saints’ David Lowery, Cinelou Films is poised for a bright future. And there’s no telling what caliber of talent an Oscar nomination might help it to attract. If Cake enables Cinelou to become the next A24 or Annapurna, will it have been worth it?
Sure, I guess. And in an Oscar race defined by the urgency of Selma, the visionary achievement of Boyhood, and the persistence of The Grand Budapest Hotel, it may be petty to focus on unflattering peripheral narratives. Still, it’s astonishing just how transparently Cake’s awards push has epitomized the grotesque caricature that awards season truly is. In September, a Vulture post about Aniston stated that “Cake is her Monster.” (The line’s now proudly featured on her For Your Consideration ad.) As of Jan. 15, when Oscar nominations are announced, it’s our monster too.
http://www.slate.com/articles/arts/...turned_a_bad_movie_into_a_likely_oscar.2.html
There should be an award for the best awards campaigning.
That Slate article is very interesting thanks for posting.
The Rotten tomatoes rating is often off... you really have to go through a bunch of the reviews to get a good idea if the rating is an accurate reflection. I've seen reviews that have numerically given a film a good rating only to read the actual review and realise they've slated the film and visa versa.
A lot is also dependant on how many critics review a film, I've often found the smaller the number of critics listed on RT the more inaccurate the rating can be. Also the rating tends to be less accurate if the film has a pre-existing fan base of some sort.
That Slate article is very interesting thanks for posting.
The Rotten tomatoes rating is often off... you really have to go through a bunch of the reviews to get a good idea if the rating is an accurate reflection. I've seen reviews that have numerically given a film a good rating only to read the actual review and realise they've slated the film and visa versa.
A lot is also dependant on how many critics review a film, I've often found the smaller the number of critics listed on RT the more inaccurate the rating can be. Also the rating tends to be less accurate if the film has a pre-existing fan base of some sort.