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PostPosted: Fri Aug 11, 2017 9:37 pm 
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Alexander Payne's Downsizing is opening the Venice Film Festival....the early buzz is impressive


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PostPosted: Fri Aug 11, 2017 11:06 pm 
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It's actually been on the receiving end of a lot of reshoots and tinkering all year-- word is every test audience has struggled with the film and Payne was still trying to make it work up to the last minute. For a high concept film like this, that's not necessarily a bad thing, but tempered expectations may be best here. Early word is that despite the name brand cast, it's relative unknown Hong Chau who has the best role and is likely to get Oscar nommed for her perf-- some of you may remember her as Linh, the woman Sonny marries on Treme


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PostPosted: Sat Aug 12, 2017 9:21 am 
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That's exciting to hear, Chau was fantastic in Inherent Vice as well


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PostPosted: Wed Aug 30, 2017 10:29 am 
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Reactions to Alexander Payne's film are not very good. Very strange, a mix of several films, result = nothing.


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PostPosted: Wed Aug 30, 2017 10:37 am 
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What reactions are you looking at? THR calls it Payne's best yet. (Any of these Venice titles really don't get much of a consensus until most of the NY/LA critics see it at TIFF or Telluride, though)


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PostPosted: Wed Aug 30, 2017 11:37 am 
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The Guardian review, by Xan Brooks, seems to like it too. It might be a bit premature to call something a masterpiece just after you've seen it, however, although I suppose the headline may be the work of editors. I'm also never sure whether it's the reviewer or the editor who allocates the star rating, either.


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PostPosted: Wed Aug 30, 2017 11:39 am 
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rohmerin wrote:
Reactions to Alexander Payne's film are not very good. Very strange, a mix of several films, result = nothing.


Metacritic says otherwise.


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PostPosted: Wed Aug 30, 2017 11:43 am 
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I read El Pais review. And given that they are Spaniards (so, zero English in conversation) they could have talked with critics from Paraguay, El Salvador or Costa Rica.


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PostPosted: Thu Aug 31, 2017 4:34 am 
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It sounds as if Anglophone critics like it and other critics do not, which is not unprecedented. The most extreme recent example I can recall was We Need to Talk About Kevin, which the British critics loved and all the other critics hated.


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