IanTheCool
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Post by IanTheCool on Feb 25, 2016 20:14:01 GMT -5
Haters gonna hate.
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Dracula
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Post by Dracula on Feb 26, 2016 6:49:39 GMT -5
4.
Clouds of Sils Maria Directed by: Olivier Assayas Written by: Olivier Assayas Starring: Juliette Binoche, Kristen Stewart, and Chloë Grace Moretz Distributor: IFC Films Country: France Language: English Rating: R Running Time: 124 Minutes Aspect Ratio: 2.35:1 Date released: 4/10/2015 Date seen: 5/9/2015 Worldwide Box Office Gross: $1,841,555 # of Oscar nominations: 0 # of Golden Stake Nominations: 3 (Best Supporting Actress, Best Actress, and Best Original Screenplay) # of Golden Stakes Won: 1 (Best Supporting Actress) The most interesting relationship in cinema this year was not between lovers but between a boss and her assistant in Olivier Assayas’ English language French film Clouds of Sils Maria. The film is ultimately a character study of Juliette Binoche’s character, a renowned actress of stage and screen, and her mid-life crisis (something that’s much less clichéd when it happens to a woman) but it’s her interactions with her assistant played by Kristen Stewart that really stand out. Usually boss/employee relationships in movies are defined by animosity and bullying but these two actually seem to be on good terms, almost seeming to be friends as much as colleagues and you can see the way they challenge each other. It’s a really clever and playful little movie but one with some interesting things to say about legacy and what it means to get older as an artist (making it a really interesting twin for the movie Youth). 3.
Room Directed by: Lenny Abrahamson Written by: Emma Donoghue Based on: The novel “Room” by Emma Donoghue Starring: Brie Larson, Jacob Tremblay, Sean Bridgers, Joan Allen, and William H. Macy Distributor: A24 Films Country: Ireland/Canada Language: English Rating: R Running Time: 117 Minutes Aspect Ratio: 2.35:1 Date released: 10/16/2015 Date seen: 10/31/2015 Worldwide Box Office Gross: $11,201,500 # of Oscar nominations: 4 (Best Picture, Best Director, Best Actress, and Best Adapted Screenplay) # of Golden Stake Nominations: 4 (Best Set-Piece, Best Villain, Best Actress, and Best Adapted Screenplay) # of Golden Stakes Won: 3 (Best Set-Piece, Best Villain, and Best Actress) What I find most remarkable about Room is simply how deftly it manages to make itself work despite the many ways it could have gone wrong. The film’s premise could very easily have produced an unwatchable grim movie about the hellish ordeal at its center and conversely it easily could have seemed like something that was in very poor taste if they went too far in the direction of softening that peril as well. By finding subtle ways of transitioning between the point of view of the mother and the child in order to maintain a great balance between whimsy and terror all without making it feel in any way gimmicky. More importantly the movie is able to come right up to the precipice of corniness in its second half without going over the cliff. It’s like The Shawshank Redemption for the 21st Century, a movie that’s able to find genuine emotion out of an extreme situation which will one day find the audience it deserves.
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PG Cooper
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Post by PG Cooper on Feb 26, 2016 10:04:10 GMT -5
More great choices.
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Post by Neverending on Feb 26, 2016 10:44:28 GMT -5
Room would have found an audience if they had promoted it better. The story is told through the point of view of the child, and as a result, it isn't as uncomfortable to watch as people imagine. Throughout awards season all we hear/read about is Brie Larson, even though the kid is the star, so people have an entirely different movie pictured in their head. It's kind of like Saving Private Ryan. The opening scene got so much attention that people only associate the movie with that scene and forget that there's an entirely different movie afterwards.
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SnoBorderZero
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Post by SnoBorderZero on Feb 26, 2016 10:48:12 GMT -5
Yeah, Room really isn't an uncomfortable watch at all given the subject matter. But they did have to market it as a thriller, because it essentially is for the first half. Then again I found the second half to be the most interesting and profound part of the film, and they marketed that element as well. I think it's just not a film people are going to rush out and see, but it will gain a lot of traction through Netflix.
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Post by Neverending on Feb 26, 2016 10:57:43 GMT -5
Yeah, Room really isn't an uncomfortable watch at all given the subject matter. But they did have to market it as a thriller, because it essentially is for the first half. Then again I found the second half to be the most interesting and profound part of the film, and they marketed that element as well. I think it's just not a film people are going to rush out and see, but it will gain a lot of traction through Netflix. It's fucked up they didn't nominate the kid for an Oscar. Did Eddie Redmayne REALLY need to be nominated? He fucked over Michael Keaton last year and now this kid.
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SnoBorderZero
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Post by SnoBorderZero on Feb 26, 2016 11:07:53 GMT -5
Yeah, Room really isn't an uncomfortable watch at all given the subject matter. But they did have to market it as a thriller, because it essentially is for the first half. Then again I found the second half to be the most interesting and profound part of the film, and they marketed that element as well. I think it's just not a film people are going to rush out and see, but it will gain a lot of traction through Netflix. It's fucked up they didn't nominate the kid for an Oscar. Did Eddie Redmayne REALLY need to be nominated? He fucked over Michael Keaton last year and now this kid. Totally agreed. It's criminal that Tremblay didn't get a nod, he was sensational. Redmayne is really pissing me off with his bullshit roles. I was so annoyed last year that he won over Keaton.
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Post by Neverending on Feb 26, 2016 11:25:37 GMT -5
It's fucked up they didn't nominate the kid for an Oscar. Did Eddie Redmayne REALLY need to be nominated? He fucked over Michael Keaton last year and now this kid. Totally agreed. It's criminal that Tremblay didn't get a nod, he was sensational. Redmayne is really pissing me off with his bullshit roles. I was so annoyed last year that he won over Keaton. It would be funny if he wins this year and has everyone hate him cause he denied Leo DiCaprio an Oscar.
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SnoBorderZero
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Post by SnoBorderZero on Feb 26, 2016 11:36:25 GMT -5
Totally agreed. It's criminal that Tremblay didn't get a nod, he was sensational. Redmayne is really pissing me off with his bullshit roles. I was so annoyed last year that he won over Keaton. It would be funny if he wins this year and has everyone hate him cause he denied Leo DiCaprio an Oscar. He wouldn't leave Los Angeles alive. Snake Plissken would make sure of it.
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PhantomKnight
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Post by PhantomKnight on Feb 26, 2016 12:55:24 GMT -5
Room really isn't uncomfortable to watch -- well, maybe in one or two scenes -- it just takes a lot out of you. It's undeniably great, but you'll kind of need to cheer yourself up afterwards.
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Post by Neverending on Feb 26, 2016 13:17:11 GMT -5
Room really isn't uncomfortable to watch -- well, maybe in one or two scenes -- it just takes a lot out of you. It's undeniably great, but you'll kind of need to cheer yourself up afterwards. Maybe I'm just old and desensitized, but I wasn't emotionally drained by the movie.
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SnoBorderZero
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Post by SnoBorderZero on Feb 26, 2016 13:22:34 GMT -5
Room really isn't uncomfortable to watch -- well, maybe in one or two scenes -- it just takes a lot out of you. It's undeniably great, but you'll kind of need to cheer yourself up afterwards. Maybe I'm just old and desensitized, but I wasn't emotionally drained by the movie. I think a part of it is also that we pick up on the story where she's already very acclimated, almost comfortable with her surroundings. If we started the story right when she's thrown in there and is being raped for the first time, we'd be talking a different story. But Larson's character is essentially going through the routine. Also, as you mentioned, Tremblay's performance and presence also lightens things a bit since he's essentially protected from Old Nick and his intrusions.
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Post by Neverending on Feb 26, 2016 13:32:25 GMT -5
Maybe I'm just old and desensitized, but I wasn't emotionally drained by the movie. I think a part of it is also that we pick up on the story where she's already very acclimated, almost comfortable with her surroundings. If we started the story right when she's thrown in there and is being raped for the first time, we'd be talking a different story. But Larson's character is essentially going through the routine. Also, as you mentioned, Tremblay's performance and presence also lightens things a bit since he's essentially protected from Old Nick and his intrusions. If there's one flaw with the movie, it's Old Nick. I didn't understand what his story was. Did he just randomly pick Joy or was she specifically targeted? What did he do when Joy gave birth? Did he assist, the way he also provided food and other needs, or did he just let her do it cave woman style. And how did he deal with a baby crying all day long? Was he nervous the neighbors were gonna hear it and ask questions? It may sound cliche, but maybe there should have been a quick montage at the beginning of the movie to explain the backstory and make the character seem less random.
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Dracula
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Post by Dracula on Feb 26, 2016 13:44:17 GMT -5
I think a part of it is also that we pick up on the story where she's already very acclimated, almost comfortable with her surroundings. If we started the story right when she's thrown in there and is being raped for the first time, we'd be talking a different story. But Larson's character is essentially going through the routine. Also, as you mentioned, Tremblay's performance and presence also lightens things a bit since he's essentially protected from Old Nick and his intrusions. If there's one flaw with the movie, it's Old Nick. I didn't understand what his story was. Did he just randomly pick Joy or was she specifically targeted? What did he do when Joy gave birth? Did he assist, the way he also provided food and other needs, or did he just let her do it cave woman style. And how did he deal with a baby crying all day long? Was he nervous the neighbors were gonna hear it and ask questions? It may sound cliche, but maybe there should have been a quick montage at the beginning of the movie to explain the backstory and make the character seem less random. I would think that if the Larson character hadn't already alerted the neighbors by screaming in terror the baby crying wouldn't be a concern.
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SnoBorderZero
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Post by SnoBorderZero on Feb 26, 2016 13:47:40 GMT -5
I agree, though I'm sure the idea was to just have him be this general sociopath. It's certainly interesting questions you bring up. In fact, why even let her have the child? Wouldn't he fear one day that the child would grow up and overpower him? Or be found and they run DNA tests? It is a good point. Maybe in a sick sort of way this was his version of family. I mean hell, just look up the Fritzl case that this is loosely based on and it'll make you sick.
I'm assuming it's the less is more idea. Also, unless they did a montage like you suggested, when would Joy discuss these things? Certainly not with her son, and she wasn't jumping at the bit to pour out all the details to her family and the public either. In a way it works as is. The focus is on her and her son, not the abuser.
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PhantomKnight
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Post by PhantomKnight on Feb 26, 2016 14:55:56 GMT -5
Room really isn't uncomfortable to watch -- well, maybe in one or two scenes -- it just takes a lot out of you. It's undeniably great, but you'll kind of need to cheer yourself up afterwards. Maybe I'm just old and desensitized, but I wasn't emotionally drained by the movie. I dunno, man, seeing Joy trying to re-acclimate to life in the second half made for some pretty powerful stuff. Especially seeing it in contrast to how Jack was going about things.
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Dracula
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Post by Dracula on Feb 26, 2016 19:02:16 GMT -5
2.
The Hateful Eight Directed by: Quentin Tarantino Written by: Quentin Tarantino Starring: Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Demián Bichir, Tim Roth, Michael Madsen, and Bruce Dern Distributor: The Weinstein Company Country: USA Language: English Rating: R Running Time: 187 Minutes Aspect Ratio: 2.76:1 Date released: 12/25/2015 Date seen: 12/25/2015 Worldwide Box Office Gross: $131,385,298 # of Oscar nominations: 3 (Best Supporting Actress, Best Cinematography, and Best Score) # of Golden Stake Nominations: 11 (Best Musical Performance, Best Sound, Best Makeup, Best Villain, Best Score, Best Cameo, Best Supporting Actor, Best Line, Best Supporting Actress, Best Ensemble, and Best Original Screenplay) # of Golden Stakes Won: 1 (Best Original Screenplay) It’s almost getting boring to love a Quentin Tarantino film when it comes out, so it’s a good thing that the filmmaker has found ways to pave new trails while seemingly staying within the same basic stylistic template. On a level of pure technical filmmaking this is a clear step up for Tarantino what with his bold decision to film this largely interior set film in Ultra Panavision 70mm, and the film is also up to his usual standards of writing and acting. What really sets the film apart though is its surprising social relevance, which comes in a very bold form that doesn’t pander to any one side of the culture war and isn’t meant to go down easy for anyone but which does seem to have some real insight into the culture wars we’re all mired in. 1.
Son of SaulDirected by: László Nemes Written by: László Nemes and Clara Royer Starring: Géza Röhrig, Sándor Zsótér, Urs Rechn, and Levente Molnár Distributor: Sony Picture Classics Country: Hungary Language: Hungarian/German Rating: R Running Time: 107 Minutes Aspect Ratio: 1.37:1 Date released: 12/18/2015 Date seen: 1/23/2016 Worldwide Box Office Gross: $874,200 # of Oscar nominations: 1 (Best Foreign Language Film) # of Golden Stake Nominations: 4 (Best Set-Piece, Best Editing, Best Cinematography, and Best Actor) # of Golden Stakes Won: 1 (Best Cinematography) Son of Saul is in some ways a rather unusual choice to by my number one film of the year. It’s the first time I’ve put a film at number one without giving it Golden Stake nominations for either its screenplay or any of its actors, in part because it doesn’t exactly operate like a normal film. It’s a highly visual experience, almost more like a painting, albeit a rather horrifying painting, than your average film. It’s a film that takes a decidedly unsentimental yet sober look at the evil that humanity is capable and doesn’t try to soften it with some false undercurrent of uplift, but it’s also a very human drama of what it is to endure such evil. As a visual experience the film is a major accomplishment made all the more amazing by the fact that it comes from a first time director. To be honest this is something of a safe choice, it’s in many ways simply the movie that I have the fewest reservations about and also the one I don’t feel like I have to do much to defend, but that doesn’t change the fact that it’s a unique and powerful movie that earned its slot.
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PG Cooper
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Post by PG Cooper on Feb 26, 2016 20:30:08 GMT -5
Nicely done.
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Post by Neverending on Feb 26, 2016 20:44:03 GMT -5
But the Revenant wasn't #1.
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PG Cooper
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Post by PG Cooper on Feb 26, 2016 21:06:24 GMT -5
I haven't seen Son of Saul, so I can't really debate against it.
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Post by Jibbs on Feb 26, 2016 22:39:48 GMT -5
Good work, Drac. You present these well.
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Deexan
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Post by Deexan on Feb 26, 2016 23:49:53 GMT -5
For me, Room lost momentum after the escape scene at the halfway point. I know a lot of people enjoyed the difference between the two halves but in my opinion it never hit the same heights after that moment.
Never even heard of Son of Saul...guess I'd better update my to-watch list.
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IanTheCool
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Post by IanTheCool on Feb 27, 2016 9:51:22 GMT -5
I may try to see hateful 8 today. Then I'LL be the judge of whether you are right or not.
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Post by Neverending on Feb 4, 2020 16:00:04 GMT -5
Best Line
Throwing around quotes is something of a pastime among film buffs and fortunately there’s a new batch of potential classic lines that comes along every year. That said this award is more about the process of constructing a perfect little bit of writing than it is about creating something that is going to be widely quoted and to be nominated the line does need to have a certain ring to it when read out of context. “Tell me the difference between stupid and illegal and I'll have my wife's brother arrested.” - The Big Short: One of the things that made the 2008 Wall Street crash so infuriating is that in many ways it happened because markets had been deregulated to the point where it wasn’t at all clear if the causes of the crash were illegal at all to begin with and even if they were the regulators were so asleep at the wheel that the people on the ground didn’t even think to be afraid of them. This line, said by the Ryan Gosling character in response to the Steve Carrell character’s shock about how stupid and fraudulent the real estate market had become, illustrates that state of affairs and attitude while also being a funny in-law joke. “My name is Donovan, Irish, both sides, mother and father. I’m Irish, you’re German. But what makes us both Americans? Just one thing. One, only one: the rulebook. We call it the Constitution and we agree to the rules, and that's what makes us Americans. It’s all that makes us Americans so don’t tell me there’s no rulebook and don’t nod at me like that you son of a bitch.” – Bridge of Spies: This little speech comes into Bridge of Spies during a scene where someone from the CIA approaches Hanks’ character attempting to get privileged information about his client expecting the lawyer to not take this prisoner’s rights seriously because he’s an alleged traitor and alleges that there’s “no rulebook here.” Clearly he gets a bit of a mouthful in response. The speech cuts to the core of the film’s message and is also delivered very eloquently as only Tom Hanks can. Watch the scene sometime and admire how eloquently he takes the hostility out of that insult at the end. “Gentlemen, I know Americans aren't apt to let a little thing like unconditional surrender get in the way of a good war. But I strongly suggest we don’t restage The Battle of Baton Rouge during a blizzard in Minnie’s Haberdashery.” -The Hateful Eight: This line, spoken by Tim Roth’s character, is both amusing in its construction and is also where Tarantino shows his hand a bit as to what is going on in this movie because Oswaldo’s advice is definitely not heeded. The whole movie is all about the post war tensions between everyone in the room and this line finds an amusing way to call this out without seeming wildly on the nose and also bringing out the character’s claims at being something of a neutral arbiter of this situation. “Congratulations San Francisco, you’ve ruined Pizza. First the Hawaiians and now you” – Inside Out: You can tell that Lewis Black, who was cast as the voice of anger, is having to restrain himself a lot in order to keep things PG in this Pixar movie, but occasionally you see him cut loose a bit. This line, which comes in response to the title character being offered Broccoli Pizza at a funky San Francisco pizzeria. In its form this is very much the kind of line you’d hear from an adult stand-up comedian, but I do like how this comes in the context of a very childlike reaction to a vegetable and how it reflects the character’s anxiety about her new home. “In the face of overwhelming odds, I’m left with only one option, I’m gonna have to science the shit out of this” - The Martian: I’ll be honest, looking at this line on the page and out of context it makes me cringe just a little, and the same can sort of be said about a lot of the lines in this movie. However, when you’re watching it in the movie and understand the feelgood vibe it’s going for it really makes sense. This is not an original quote, I’m pretty sure I’ve heard that terminology elsewhere, but the audacity to have a character just come out and say it in a huge movie like this is pretty cool. And the Golden Stake goes to…
Bridge of Spies
This was kind of a strange comparison to make. The other four nominees here are, at their hearts, rather jokey lines while this winner is an impassioned speech about civil liberties. It does kind of get dangerously close to being preachy but it also does a great job of deflating that pretension and lays out this argument for what it means to be an American in a really simple and convincing way that pretty much anyone can get behind while also establishing what will be motivating the character going forward.
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