外國都見好多第95屆奧斯卡電影金像獎 賽後討論
馬德鐘
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外國都見好多根據你所講，唔鐘意一套戲=睇唔明一套戲？
臥虎藏龍 年代，我係一個廿歲少女，只喜歡愛情片，唔鐘意卧虎藏龍 係因為劇種唔啱當年嘅自己。
唔鐘意一套戲 可以係因為 劇種、男主角唔夠靚仔、女主角唔夠靚女等等等等等 嘅 唔同原因
唔鐘意一套戲=睇唔明一套戲？你邏輯係咪有啲問題
臥虎藏龍 年代，我係一個廿歲少女，只喜歡愛情片，唔鐘意卧虎藏龍 係因為劇種唔啱當年嘅自己。
唔鐘意一套戲 可以係因為 劇種、男主角唔夠靚仔、女主角唔夠靚女等等等等等 嘅 唔同原因
唔鐘意一套戲=睇唔明一套戲？你邏輯係咪有啲問題
有冇人覺得近呢兩三年既Oscars都比較弱
始終受疫情影響，2019年可能已經係上一個高峰
不過見到今年黎緊都好似幾多大片有啲期待
始終受疫情影響，2019年可能已經係上一個高峰
不過見到今年黎緊都好似幾多大片有啲期待
無限復活關繼威已經好正
佢一定冇睇IMAX
比例上絕大部分都鍾意喎
美國係 歐洲好似唔係咁？
有冇人睇緊重播？
用電話睇緊,點樣set字幕架
睇緊 好想飛晒d 廣告
比個parasite 你叫比面啦奧斯卡鍾意奉俊昊但唔鍾意朴贊郁
我都覺得佢拎先岩
鋼琴戰曲
好似無
96揀片係唔錯
最後生既靚仔影帝
最後生既靚仔影帝
狂林戰曲Adrian Brody做配角
*(剪到）做配角
實際套戲Jim Caviezel先係主角
Sean Penn亦都唔係主角
Sean Penn亦都唔係主角
https://www.latimes.com/entertainment-arts/awards/story/2023-03-12/oscars-2023-everything-everywhere-all-at-once-best-picture
“I’ve thought about how, in toggling restlessly between parallel worlds, “Everything Everywhere” captures something of the social fragmentation and narrative oversaturation of the internet age and its attendant, all-consuming feelings of apathy and despair: the sense that “nothing matters,” as Hsu’s all-powerful antagonist moodily declares. I’ve thought about the intense loyalty that the A24 brand commands among younger audiences in particular (they’re like Disney/Marvel fans with edgier taste), some of whom have taken to championing “Everything Everywhere” and attacking its detractors with such cultish devotion that Kwan himself has more than once had to urge his fans to practice some of the kindness his movie preaches.
For that matter, I’ve thought about the generational divide that many have noted between those who couldn’t stand the movie, like my uncle, and those who adored it, like my younger cousin and most of my undergraduate film criticism students. But I’ve also reflected on the folly of such generalizations, which are nearly as reductive as the notion that every Asian American everywhere — myself included — must love the year’s most acclaimed and popular Asian American movie.”
“I’ve thought about how, in toggling restlessly between parallel worlds, “Everything Everywhere” captures something of the social fragmentation and narrative oversaturation of the internet age and its attendant, all-consuming feelings of apathy and despair: the sense that “nothing matters,” as Hsu’s all-powerful antagonist moodily declares. I’ve thought about the intense loyalty that the A24 brand commands among younger audiences in particular (they’re like Disney/Marvel fans with edgier taste), some of whom have taken to championing “Everything Everywhere” and attacking its detractors with such cultish devotion that Kwan himself has more than once had to urge his fans to practice some of the kindness his movie preaches.
For that matter, I’ve thought about the generational divide that many have noted between those who couldn’t stand the movie, like my uncle, and those who adored it, like my younger cousin and most of my undergraduate film criticism students. But I’ve also reflected on the folly of such generalizations, which are nearly as reductive as the notion that every Asian American everywhere — myself included — must love the year’s most acclaimed and popular Asian American movie.”
睇到Brenda Fraser拎獎好感動
Green Book政治正確得黎但唔會令人反感
後生時好靚仔，同埋都好高
