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Leonardo DiCaprio - (Please Read First Post Prior to Posting)
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moiselles

By moiselles
in Male Actors

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katchitup

katchitup

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2 hours ago, Sunshiine said:

Not sure if this is the right place to post this, but EW just did a review of the Revenant : http://www.ew.com/article/2015/12/04/revenant-ew-review

Thanks!

 

Some people are reviewing the movie thought it was just alright (lacked a stronger emotional story for Glass) and that it got lost in it's showiness.

 

But so far a majority of the reviews have been great, with some of the not so great reviews still thinking it was a good movie!

 

List of 5 Star type (they loved it) reviews:

 

Maxim:

http://www.maxim.com/entertainment/movies/article/revenant-movie-review-2015-12

 

Empire:

http://www.empireonline.com/movies/revenant/review/

 

EW

http://www.ew.com/article/2015/12/04/revenant-ew-review

 

IGN

http://www.ign.com/articles/2015/12/04/the-revenant-review

 

The Guardian:

http://www.theguardian.com/film/2015/dec/04/the-revenant-review-gut-churningly-brutal-beautiful-storytelling
 

The Wrap:

https://www.thewrap.com/the-revenant-review-leonardo-dicaprio-tom-hardy-alejandro-gonzalez-inarritu/

 

The Daily Beast:

http://www.thedailybeast.com/articles/2015/12/04/the-revenant-starring-leonardo-dicaprio-is-the-most-breathtakingly-beautiful-film-of-the-year.html

 

The Independent:

http://www.independent.co.uk/arts-entertainment/films/reviews/the-revenant-review-leonardo-dicaprio-and-tom-hardy-provide-shock-and-thaw-in-a-stellar-survival-a6761206.html

 

Awards Daily:

http://www.awardsdaily.com/2015/12/04/the-revenant-aint-no-man-righteous-no-not-one-review/

 

 

 

List of good reviews (liked it, but not super in love with the movie):

 

Indie Wire:

http://www.indiewire.com/article/review-the-revenant-is-brilliantly-directed-but-does-that-make-it-a-great-movie-20151204

 

Forbes:

http://www.forbes.com/sites/scottmendelson/2015/12/04/review-leonardo-dicaprios-the-revenant-offers-beautiful-b-movie-thrills-but-little-nourishment/

 

Deadline:

http://deadline.com/2015/12/the-revenant-review-leonardo-dicaprio-alejandro-gonzalez-inarritu-1201653248/

 

the Hollywood Reporter:

http://www.hollywoodreporter.com/review/revenant-film-review-845152

 

 

 

List of not so good reviews:

 

Vanity Fair:

http://www.vanityfair.com/hollywood/2015/12/the-revenant-review-leonardo-dicaprio

 

Slant Magazine:

http://www.slantmagazine.com/film/review/the-revenant-2015

 

 

 

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katchitup

katchitup

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Leonardo DiCaprio parties the nights away in Miami

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If you had a Leonardo DiCaprio sighting during Art Miami and/or Art Basel, you were not alone. The star of such movies as Titanic, The Wolf of Wall Street and the upcoming The Revenant was all over the place.

We previously reported on DiCaprio’s #ArtBasel takeover, but now that he’s gone, more details are surfacing about his wild nights and big balls.

The actor, who was staying at The Miami Beach EDITION, closed down Basement Bowl each night, Monday through Wednesday, starting at 3:30 each morning, to host a private party for his celeb friends and slew of what our spy witnesses can only describe as “leggy models.”

On Tuesday night, Leo partied in Basement to celebrate the club’s one-year anniversary, then came back late night to take over the Bowl lanes with his crew of 40, which included: Jamie Foxx, Ellie Goulding, Miguel, Alexandra Richards, Lukas Haas and Jamie XX. A certain hotel heiress was there, too.

The following night, he returned to shut down the bowling alley again with aforementioned alluded to heiress, Miguel, Megan Fox, Meagan Good, Mario, Foxx, billionaire Brian Sheth, and the cast of Power.

As for whether or not anyone was caught making out or picking their nose, it’s anybody’s guess. No pictures were allowed and no one is talking. The only thing we got was, “The girls that were invited in were Amazons. I mean, you had to fit a certain requirement to get invited to the party.”


Read more here: http://www.miamiherald.com/entertainment/celebrities/article48049535.html#storylink=cpy

 

 

 

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Jade Bahr

Jade Bahr

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The Revenant Is the Movie That Will Earn Leo His Oscar

Maxim reviews Alejandro González Iñárritu’s highly anticipated film.

At this point, to mention Oscar chances in the same breath as discussing a new Leonardo DiCaprio film is akin to saying Macbeth in a theater. So stand up, spin around in three circles, walk outside, and get invited back in because it goes without saying: The Revenant is DiCaprio’s Oscar film.

Written and directed by Alejandro González Iñárritu, last year’s Oscar-winning Best Director for Birdman, The Revenant is based on Michael Punke’s fictionalized account of the incredible true story of American fur trapper Hugh Glass, who is played by an impressively-bearded DiCaprio. Glass, a navigation expert on a crew of American trappers that keeps getting decimated by attacks from a local Native American tribe funded by rival French trappers, is unsurprisingly the crew’s best asset — a fact that serves as the only reason his half-Native American son Hawk is allowed to be a part of the dangerous expedition. Haunted by the image of seeing his wife murdered in a raid on her Pawnee tribe, Glass now expends few words; those he does, however, keep getting him caught in the crosshairs of John Fitzgerald, a fellow trapper played to maniacal perfection by Tom Hardy who disagrees with the route Glass wants to take to get to Yellowstone.

After being mauled by a bear (those reports of bear rape were blessedly false) he managed to fight off and kill, a nearly immobile Glass is left in the care of Hawk, another crewmember named Bridger, and a begrudging Fitzgerald, who only volunteers after hearing there’s a $300 reward for doing so. The trio receives strict instructions to keep Glass alive, or give him a proper burial if he passes, which naturally ends in Fitzgerald murdering Hawk, leaving Glass for dead, and cowing Bridger into going along with the plan. And thus begins what is officially the most harrowing survival tale I’ve ever seen; despite sub-zero winter temperatures, Glass recuperates and begins the dangerous slow crawl back to his men. He’s motivated by one thing and one thing only: revenge.

The script for The Revenant — surprisingly short, given that the majority of the two and a half hour movie features Glass solo, after the bear ripped out half his throat — has been floating around Hollywood for nearly a decade, with various directors attached at various points, and both Samuel L. Jackson and Christian Bale attached to play Glass. But for a script so sparse, the magic lies entirely in the directing. Shot in Calgary, the film is all sweeping wide shots — trees stretching endlessly upwards, panoramic mountain ranges blanketed in ice — that do nothing to sugarcoat the enormity of the environment. Despite a few heavy-handed scenes of DiCaprio picturing his wife and son in a sunlit meadow, the vastness of Glass’ terrain is inescapable.

The pacing of the film also pulls zero punches. Within the first five minutes of the film, over thirty men are murdered in one of the more realistically gruesome fight scenes ever recorded. The bulk of the movie is spent seeing Glass survive one insanely dangerous situation after another as he makes his way towards the base camp – setbacks such as being chased off cliffs by Native Americans, being pushed through miles of river rapids without any protective gear, having arrows shot at his head from trees on high – which can, at times, grow weary. (This is the movie that should have been called A Million Ways to Die in the West.) But the unyielding attacks on Glass are the reason this film is unlike any other survival film of its kind. Much like Glass’ journey, there are no breaks, no feel-good victories to allow time to catch your breath.

The film isn’t without some drawbacks, of course. Even before knowing Bale was attached at one point to play Glass, I couldn’t help but wonder if DiCaprio’s role – and the way he played Glass as a man broken by the world and seeking revenge – could have been played by any other actor of similar Method mettle. Even after seeing the film in full, I still can’t shake the fact that Bale, among others, could have likely stepped into Glass’ snowshoes just as well. DiCaprio’s performance, though exceptional, also felt one-note at times. The lack of character development in favor of dropping the viewer right into each character’s world view was a smart choice, but didn’t leave much room for Hardy or DiCaprio to layer their roles further.Much of the film’s most gripping moments came from plot rather than acting, which left a sense of feeling the tail wagging the dog. Then again, any man willing to sleep inside a horse carcass in the name of art can’t really be questioned over his artistic abilities.

Also helping DiCaprio is that Oscar competition this year isn’t as stiff. Hardy still remains the front-runner for Mad Max: Fury Road, and Jordan’s meaty turn as Adonis Johnson in Creed is a worthy foe, but the race is fairly open outside of it. Matt Damon’s take on The Martian was enthusiastic and will likely earn a nod, but even Damon knows he essentially played Matt Damon Stuck on Mars, which isn’t so much a role as a way of life on a different planet. Hardy’s Fitzgerald in this film is diabolically excellent, but as he can only be nominated for one film in a category, Mad Max will, of course, be the way to go. Which leaves the race wide open for DiCaprio, who spoke far less in this movie than any of his potential competitors.

The Revenant is a survival story, but to call it that would be to dismiss everything that differentiates it upwards into a class of its own. It’s not just a master class in acting, or even directing; it’s a call to arms for inventive filmmaking, exceptional location scouting, wonderful camera work. And if losing his throat to a bear earns Leo that Oscar? All that revenge would have been more than worth it.

 

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oxford25

oxford25

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Film critic Tom Shone's excellent review of The Revenant for The Economist

 

 

 

 

Iñárritu is cinema’s mad genius

“The Revenant”, his new film starring Leonardo DiCaprio, is both a visceral story of revenge and a metaphysical hymn

 

 

 

 

Alejandro González Iñárritu’s “The Revenant” is a visceral, immersive, man-against-the-wilderness tale with full metaphysical reverb: Jack London by way of Terrence Malick. It’s almost too much — too long, too brutal, too highflown — but there is a glorious history of overreach at the cinema, from Erich von Stroheim to Francis Ford Coppola, which has fallen into sad decline. Technically, our directors have never been better —  you can’t fault Christopher Nolan or J.J. Abrams for ingenuity or spectacle. Nor can anyone doubt the wormy, forensic allure of a David Fincher or Darren Aronofsky film. But our most inventive cinema is pulled off in the shadows, hidden well away from the big budgets and studio beancounters. Even the arthouse lacks risk: anyone can fail in front of a small audience. What we’ve been missing is a mad genius or two, working in full public view and with the backing and resources of a studio, towards a personal vision that could combust at any point — auteur as Icarus, movie as meteor. 

 

 

Not anymore. At its heart, “The Revenant” is a bare-bones tale of revenge, adapted from a novel by Michael Punke about a 19th-century fur trapper named Hugh Glass (Leonardo DiCaprio). After an attack by a grizzly bear leaves him close to death, Glass is abandoned in a shallow grave by a member of his own hunting team, John Fitzgerald (Tom Hardy) – a stunning act of betrayal compounded by Fitzgerald’s murder of Glass’s son as he lies there helpless. The bear attack itself is horrifically well done. The animal stops at one point to lick Glass’s face, like a dog slobbering over a bone, before wandering off for a few minutes – much as you might between courses, the better to savour what is to come. Left for dead by his companions, Glass is barely able to walk, let alone wreak revenge. Gratefully scooping water from a stream into his parched mouth, he finds it exiting his throat through the bear’s lacerations. His solution to this lapse in table manners? To pour buckshot into the wound and set light to it, sealing it with an improvised fireworks display. 

The film is not for the faint of heart. Iñárritu has many more astonishments in store: axes through skulls and arrows through eyes, a horse shot in the chest and another plunging over a ravine, the camera following it to observe the swaying branches of the snow-laden fir tree below. There is more than enough here to admit Iñárritu to the school of cinematic neo-brutalists like Aronofsky, Fincher and Steve McQueen – directors who believe, rightly or wrongly, that the only way to hold their own against the special effects of Hollywood blockbusters is to make the human body their battleground, their spectacle. It is telling that Glass’s response to finding his horse mangled is to scoop out its guts and make a snow-storm shelter for himself inside its still steaming ribcage, a trick last seen performed by Luke Skywalker in “The Empire Strikes Back”. As “Birdman” showed, Iñárritu outwits the Hollywood devil not with purse-lipped silence, but by stealing its tunes and bringing them off with more brio. 

 

 

What stops this bodily mangling from gratuity is Iñárritu’s equally emphatic insistence on the spirits trapped inside those bodies. The swaying trees are the giveaway: again and again we return to a shot of the forest viewed from the ground up, the treetops brushing the sky like souls leaving bodies. The film peels your senses but its view is resolutely heavenward. We get Malickian flashbacks to Glass’s dead wife, as well as to his recently deceased son. While I’m no fan of flashbacks, these pack dramatic weight: Glass is someone for whom memories are simply a way of staying alive. “I’m right here,” whispers his son. “As long as you can still grab a breath, you fight.” That’s what the film is about: human breath as animating force, the sucking of air into grateful lungs. It’s a last-gasp epic. The cinematographer, Emmanuel Lubezki, who also worked on “Birdman”, uses the widest-angle lens possible, bulging the frame slightly. The effect is as transfixing as an Ansel Adams photograph, beautiful but never merely so, rendering a wilderness as lethal as it is lovely.

What “The Revenant” is not is a Western, if by that we mean a film that cleaves to the old myths of cowboys, Indians, saloons and shootouts. In Iñárritu’s film, lines of loyalty cut through tribal lines, as they did in Michael Mann’s “The Last of the Mohicans”. “Is it true you killed an officer?” someone asks Glass near the end. “I was just trying to kill a man who was trying to kill my son,” he replies, in one of his few lines of dialogue. Largely silent, DiCaprio grunts and heaves his way through the wilderness, bearing the film on his back like Sisyphus, his performance as much a feat of physical endurance as acting. But then DiCaprio is more than just Iñárritu’s star. He’s his creative partner and co-conspirator — his sacrificial body. 

 

The film’s grandness interferes with its design at only one point: the end. By then, Iñárritu has rather lost interest in anything so base as revenge, such is the metaphysical force to be gleaned from his tale. He’s a funny mixture of the visceral and the transcendental, thug and poet — another way of saying “film director”. People with an animus against “Birdman” because it pipped “Boyhood” to the Oscar need to get over it quickly. “The Revenant” confirms him as the most exciting director working in Hollywood today. 

 

https://www.intelligentlifemagazine.com/culture/the-daily/irritu-is-cinemas-mad-genius

 

 

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oxford25

oxford25

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Barbie

 

Tks for all the Leo/Paris pix without watermarks :biggrin:

 

 

Kat

 

Tks for all your efforts to gather many Revenant reviews for us :biggrin:

 

I love the comment below about Leo's performance from the Deadline review

 

 

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It helps to have Leonardo DiCaprio in the lead role as this actor is well known for giving his all. But he has really gone beyond the call of duty this time, turning in a near-wordless silent movie-style performance that is the essence of great screen acting. He does it mostly with his eyes and body to convey the inner spirit of a true survivor bound to wreak revenge on his betrayer, John Fitzgerald

 

 

Also the comment below from Empire magazine

 

 

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But for large swathes of the film it's DiCaprio on his own, and if this doesn’t land him that Oscar at last he may have to sign up for a Mother Theresa biopic.

Flinging himself into every harsh scenario as if atoning for all that Wolf Of Wall Street debauchery, DiCaprio is hypnotically good, whether scraping marrow out of a frozen bone, going full Gollum on a fish, or (in a moment that will surely become known as The Tauntaun Bit) keeping himself warm with the aid of a horse. He has maybe a dozen lines of dialogue, most of which are rasped through a torn throat, but you root for him with all your heart.

 

DiCaprio's raw performance helps elevate what could have been just another man-versus-nature drama, The Edge with furry hats, into a powerful ode to resilience

 

 

 

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