Dracula
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Post by Dracula on Feb 8, 2024 15:27:26 GMT -5
Why do they complain a lot or something? You're allowed to play music and movies loudly at a reasonable hour. Don't let em convince you otherwise. And it's not necessarily the loudness it's the clarity and crispness. The surrounded-ness. It's worth it handily for a few times outta the year your neighbors bang on the walls. And really.... Kinda fuck them if it's a reasonable hour. You have no idea how averse to in-person conflict I am... |
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frankyt
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Post by frankyt on Feb 8, 2024 15:59:06 GMT -5
Ha that's fair.
Just remember they probably suck and crisp sound is glorious.
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Dracula
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Post by Dracula on Feb 9, 2024 11:05:54 GMT -5
Best Art DirectionArt direction, in these awards, is a pretty broad category that certainly covers the usual set construction and the like but also covers most design elements and world building and also incorporates props and to some extent costume design. This has been a pretty strong year for the category and we’ve come up with a good crop of options and needed to make some difficult cuts. Asteroid City: Asteroid City is the first of two nominated movies this year whose art direction involves a sort of artificial town built in the middle of an American Southwest environment. This includes several interesting interiors like the diner or the service station or the observatory, each with a distinct 1950s retro style but put through that signature Wes Anderson filter. Things get even more gloriously artificial when we look at the exteriors, which are these whimsical mockups in the middle of endless desert landscapes which are themselves sets with artificial bluffs in the distance.
Barbie: Barbie is a movie of two worlds, the “real” world and “Barbie World” and bringing “Barbie World” to life was a unique design challenge that the team lived up to. This section is set in a sort of neighborhood of “Dream mansions” come to life with each building lacking walls and doors in the way that doll houses don’t with everyone just floating out the ceiling as if being lifted by a child. This requires all sorts of detailed work like showers that don’t have actual water and food that one doesn’t actually eat. The rest of this “world” is built out from there with all sorts of weird artificial items.
Beau is Afraid: The standout set in Beau is Afraid is of course the elaborate play-within-a-film fantasy sequences that occurs somewhere around the two thirds mark of the film, which is like the world’s most expensive high school theater production come to life and turned into an elaborate dream sequence. That’s a real show stopper but there are some really memorable sets elsewhere from the chaotic city streets of the opening section to the cruise-liner from the flashback to the house he arrives at in the final act to the stadium he finds himself at the center of in the finale. Some really unconventional, but not always showily unconventional, work form the set team on this one.
The Creator: I have kind of a long history of nominating science fiction and fantasy movies in this category that are otherwise kind of questionable but have a lot of interesting world building and set decoration and The Creator fits well within that tradition. In this film’s vision of the future we see both a futuristic United States and a futuristic Southeast Asia which combines shanty towns with science fiction technology as well as futuristic cityscapes as well as specialty sets like a giant vault and a robot Buddhist monastery, all rendered in ways that feel lived in and real.
Poor Things: Poor Things is set in a sort of steampunk fantasy version of the Victorian era and it embraces the artificiality of its world. Dr. Baxter’s home and laboratory are detailed and memorable as are other standout locations like the Parisian brothel and the Blessington manor, but it’s really when the characters go out into the wider world that things really shine and the film find interesting ways to differentiate the various cities they go to from making Lisbon gaudy and decadent (film director Ari Aster lovingly compared it to a Cheesecake Factory) to making the slums of Greece hellish to making Paris a sort of winter wonderland. Just creativity for miles all around. And the Golden Stake goes to…Beau is Afraid Competition was particularly fierce in this category this year with all five of these nominees having a pretty good case that could be made for them. Beau is Afraid wasn’t necessarily my first instinct when it came to the winner, but the more I thought about it the more it made sense. Where the other nominees get a lot out of a single interesting idea, Beau is Afraid has a lot of variety to its sets and it manages to do something particularly memorable with almost all of them. That city at the beginning is extremely memorable, the suburban home is memorable, the big house at the end is memorable, and of course what puts it over the top is the theater in the woods and the fantasy sequence that leads to.
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Post by PhantomKnight on Feb 9, 2024 11:27:01 GMT -5
Excellent choice. Both times now, I've been really struck by the look of a lot of that movie. So much of it just enhances its deeply off-kilter nature, and that play sequence is incredible.
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Post by PG Cooper on Feb 9, 2024 19:02:52 GMT -5
Is this the most competetive the Art Direction Golden Stake has ever been?
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Post by Dracula on Feb 9, 2024 19:20:46 GMT -5
Is this the most competetive the Art Direction Golden Stake has ever been? Maybe. 2014 was pretty stacked with The Grand Budapest Hotel, The Immigrant, Interstellar, Mr. Turner, and (eventual winner) Snowpiercer. |
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Post by Dracula on Feb 10, 2024 8:37:05 GMT -5
Best ScoreAnd now we get to Best Score, a very important category but one I often struggle with. I’m not much of a film score nut, I don’t tend to listen to them as albums when I’m not researching this award and scores aren’t always what I pay the most attention to. As such the film scores that tend to jump out at me are the ones that do things a bit differently and don’t take the most traditional classical music approach to film scoring, which you’ll likely see reflected in these nominations. Barbie: I was originally thinking of Barbie as more of a “soundtrack” movie than a “score” movie but after it was shortlisted of the Oscar I gave it another look and realized there is very much a score here and it’s essential to making the movie work. Mark Ronson and Andrew Wyatt, two musicians better known as behind the scenes hit makers than as composers have essentially given Barbie an all pop score and it’s their compositions that inform a lot of those hit songs that came off of the film’s soundtrack. The music blends the whole movie together wonderfully and gives it a lot of that retro energy that powers it. It’s also just a really fun listen in and of itself.
The Boy and the Heron: Joe Hisaishi is not a composer I’m particularly familiar with outside of his longtime collaboration with Hayao Miyazaki and some of the other Studio Ghibli filmmakers. He seems to mostly work in anime with a few other departures into live action Japanese cinema. His work on The Boy and the Heron is some of his best however. This is actually probably the most traditional of the scores nominated here in terms of instrumentation as it’s heavily piano driven with some strings added here and there and the music has a way of coming back to a couple key refrains that are really impactful. It’s a playful score that gives the film fantastical whimsy while remaining conscious of some of the darker themes at play.
Oppenheimer: There was a time when Christopher Nolan was about as tied at the hip with Hans Zimmer as Steven Spielberg was with John Williams so it’s interesting that he’s been able to switch to his new musical BFF Ludwig Göransson pretty seamlessly. There were maybe some growing pains to be found in Göransson’s work on Tenet, but with Oppenheimer he really seems to have pulled off a score that make few people miss Zimmer. That’s partly because he adopts the same dark, propulsive, and maximalist style people expect from the scores to Nolan films but adjusts it for the context of a dialogue driven drama rather than the action movies we’ve been getting from Nolan.
Poor Things: Before being recruited to do the music for Poor Things Jerskin Fendrix had never scored a movie before in any capacity and is a pretty obscure name in music otherwise, but I think that degree of inexperience was what Yorgos Lanthimos was looking for in him as it gives the music in this movie quite the creative edge. Fendrix fills the movie with these really unconventional, almost broken sounding sounds, especially in the early sequences emphasizing Bella’s undeveloped mental state. Things get more complex as the movie goes, but retains that weird energy that blends in with the strange and darkly whimsical world the film exists in.
Spider-Man: Across the Spider-Verse: In the original Spider-Man: Into the Spider-Verse I think Daniel Pemberton’s music probably got a bit lost amidst all the original songs in the soundrack but that wasn’t a problem for the sequel, which is a lot more “original score” forward. There are still new songs produced by Metro Boomin however and Pemberton did need to create a score that would blend in with that so the music is pretty heavy on electronic elements but that serves this purposive and exciting score well. The music makes the action scenes particularly exciting and gives an extra degree of grandeur to what happens in the movie while also giving the whole thing more of a science fiction feel.
And the Golden Stake goes to…OppenheimerThe Oppenheimer score is in many ways winning here because it’s a score that manages to have its cake and eat it too and sort of covers the most ground of all the nominees. It can be big and grandiose but also hits various emotional beats and doesn’t lose track of the fact that it’s scoring a drama. Most importantly it’s the score that really brings home the sheer weight of the themes in the film as well as the sheer power of the science that the characters are engaging with. It really transforms the movie and makes an already big movie seem even bigger.
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Post by IanTheCool on Feb 10, 2024 9:39:52 GMT -5
Its a good choice, a tough pick out of the two main contenders.
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Post by PG Cooper on Feb 10, 2024 10:07:06 GMT -5
Stacked category this year. Right film won too.
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Post by PhantomKnight on Feb 10, 2024 13:16:19 GMT -5
Yeah, it had to be Oppenheimer.
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Post by Dracula on Feb 11, 2024 9:13:47 GMT -5
Best SoundtrackThe “Best Soundtrack” award covers the best overall use of existing music within a movie. The needledrops, if you will. It’s not an award for how the songs sound when sequenced in an album, rather it’s about how well the songs serve the film in question, and that can include not overdoing it with obvious choices. It’s also not an award for movies filled with original music like Barbie and Spider-Man: Across the Spider-verse. All of Us Strangers: All of Us Strangers is not a movie that’s particularly filled with needledrops but the ones that are there hit like a ton of bricks. I’ve already talked about the stunning Frankee Goes to Hollywood drop that acts as the film’s climax, which I reiterate is a brilliant choice. Were it not for that there’s a pretty good chance I would have nominated the film’s use of Blur’s “Death of a Party” during a trippy drug fueled scene in a nightclub and the film’s use of The Pet Shop Boy’s cover of “Always on My Mind” is also a major tearjerker. All the film’s song choices evoke a particular generation of Britain and have a bit of a queer undertone as well that’s pretty logical for this particular film.
Asteroid City: Though Asteroid City does feature some original score by Alexandre Desplat it’s less present than it was in the last couple of Wes Anderson movies and that leaves a lot more time for more traditional needle drops. Much of the soundtrack is in keeping with the film’s 1950s milieu, but rather than going for the rockabilly of the era you might expect from Anderson he instead mostly focuses on “western” (as in “country and”) songs from the era by people like Tex Ritter and Burl Ives which fit well with the film’s southwest setting. A lot of the music is pretty “square” in a way that’s fitting for the film and it’s kind of uncool crop of characters.
The Guardians of the Galaxy Vol. 3: Soundtracks have been a constant in the Guardians of the Galaxy franchise and the third “volume” is no exception to that. The rules have kind of changed this time though. Because Peter Quill got his hand on a Zune we’re no longer confined to the sounds of the 60s and 70s and the tone of the music has shifted a bit to suit the darker tone of the film, which it announces early on by opening on an acoustic version of Radiohead’s “Creep.” There’s still some normal Guardians stuff like Heart’s “Crazy on You” or Rainbow’s “Since You’ve Been Gone” but we also get to use tracks by the likes of The Flaming Lips and Florence and the Machine and to good effect.
The Holdovers: The music of the late 60s and early 70s has been minded pretty heavily over the years to the point of being completely tapped, and yet occasionally you still find movies like The Holdovers who manage to find some new territory to explore from the era. For the soundtrack of The Holdovers Alexander Payne focuses on the kind of "AM Gold" that the older generation would have been listening to like Tony Orlando and Herb Alpert rather than the “cool” music embraced by the boomers and regularly handed down to us. There’s also a selection of vintage 70s Christmas songs used midway through the film to give those sections of the film a feel that’s different from what we normally get from holiday scenes.
Saltburn: I’m really never going to be able to get over the fact that there are now period pieces set during the time when I was a young man (about the same age as the characters in the film) and that they’re making a lot of the same decisions that need to be made about other period pieces in terms of soundtrack selections. The Saltburn soundtrack chronicles music from around 2007 and the years leading up to it, particularly from the kind of bands that young college students would be into like MGMT, Arcade Fire, and The Killers. This is set in Britain so some of the nostalgia for acts like Girls Aloud and Bloc Party is a bit lost on me, but I can tell they were selected with that time and place in mind and of course it all leads up to that killer drop at the end. And the Golden Stake goes to…Guardians of the Galaxy Vol. 3The soundtrack to the original Guardians of the Galaxy lost the Golden Stake to Boyhood and the soundtrack to Guardians of the Galaxy Vol. 2 crashed headfirst into Baby Driver. So in some ways this victory does serve as a bit of a make-up win for the franchise and everything they’ve done for the art of the soundtrack, but that’s also not the only reason it’s winning here. James Gunn made some bold choices and diverged from the formula he established with the first two movies and I’ll admit that threw me a bit at first but at the end of the day I think he made the right choice and had the largest quantities of memorable and impactful needledrops for the year.
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Post by PhantomKnight on Feb 11, 2024 12:25:51 GMT -5
Personally, I think Vol. 3 has the least-memorable and listenability of the Guardians soundtracks, and not a whole lot of the needledrops worked for me like they did in the first two.
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Post by Dracula on Feb 12, 2024 6:54:05 GMT -5
Best EditingBest Editing is always a tough category to judge since we really don’t know what material the various editors needed to stitch together and what tricks they needed to do to make it happen, but I generally do the best I can. Often I’ll focus in a bit on action scene editing, but this year a lot of the obvious examples of that had some drawback, so the focus is a bit more on complicated chronologies and getting dense stories into containable packages. The Iron Claw: The Iron Claw certainly edits its wrestling sequences with a lot of gusto but the bigger thing that impressed me about its editing is that the movie covers something like twenty years in the lives of the Von Erich family which is a whole lot that needs to be fit into the movie. Obviously much of that compressing gets taken care of in the writing processes but there are associated challenges in the editing booth. The movie needs to both find ways to show the passage of time without completely resorting to montages but also find a way to juggle between the storylines of the film’s several principal characters.
Ferrari: Michael Mann’s last movie, Blackhat, had no fewer than five credited editors and rather than repeat that experiment or bring back one of his previous collaborators Mann opted to bring in a ringer. Ferrari was edited by Pietro Scalia, a legend of Hollywood editing who won an Oscar for JFK and frequently works with Ridley Scott. His work here is particularly impressive because this movie frequently needs to cut between kinetic racing footage and more character based material that’s happening elsewhere which is kind of a tricky thing to balance without killing the momentum. It’s a movie that manages to be consistency exciting but never gimmicky in its cutting.
Monster: Hirokazu Kore-eda’s Monster is a movie that looks at several events from multiple different perspectives in a vaguely Rashomon fashion, and this means we’re dealing with a non-chronological through line that needs to be kept clear but on top of that it often needs to show various events from different camera angles in ways that reveal information that was previously unavailable. Being able to cut to these angles at just the right time is essential to making the event work and this movie develops a cinematic language that conveys this elaborate web of experiences in a way that’s always clear to the audience and is also simply well-paced and engaging.
Oppenheimer: Fusion and Fission. Those are the title cards that pop up at the beginning of Oppenheimer and mark how the film is divided between color footage representing J. Robert Oppenheimer’s perspective on events as revealed through testimony and black and white footage presenting events from Lewis Strauss’ perspective. The screenplay juggles these two storylines pretty consistently and the editors needed to make sure every temporal transition was clear all while also doing the normal things it would take to fit all this dense material into one hundred and eighty minutes and also to make sure people never grow bored with all the dudes in suits talking in rooms.
Past Lives: Every year I want to be careful not to just nominate movies filled with action scenes and showy time jumps and to also look at the challenges of cutting together a more deliberately paced drama. This year that slot goes to Past Lives, a film that has a kind of difficult chronology to work with in that the movie needs to slide through something like the first twenty years in the life of the main character before the story proper starts and needs to do this in a smooth and almost dreamy way. The whole time the film needs to know when to sit in silence at certain points and to keep various conversations with character engaging and efficient while remaining of a piece with the rest of the film. And the Golden Stake goes to…OppenheimerThis is the fifth time that my Best Editing award has gone to a Christopher Nolan film and is his second film edited by Jennifer Lame instead of longtime collaborator Lee Smith. In some ways I’d like to spread the wealth around a bit more with who wins these awards but… what am I going to do, just pretend this isn’t the best edited movie when it pretty obviously is? Nah, can’t do it. Whether its putting together the Trinity Test with expert timing or showing the reveal of Lewis Strauss’ villainy Keyser Söze-style, this really pulls out all the stops to take a movie dense with material and time jumps and make it completely presentable and understandable.
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Post by PhantomKnight on Feb 12, 2024 10:42:19 GMT -5
I mean, how can it not be?
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Post by PG Cooper on Feb 12, 2024 13:06:19 GMT -5
Yeah, it's masterclass. Also, not that most and best are the same, but the fact that the film needs to balance intimate character drama with a sort of spectacular event movie while bridging two timelines which cross perspectives, span decades, and play out in non-linear fashion in a way which doesn't just make sense but is propulsively exciting? Holy shit is that impressive.
Also cool to see Iron Claw get some love.
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Post by Dracula on Feb 13, 2024 7:50:28 GMT -5
Best CinematographyEveryone’s favorite technical category (well, maybe with the exception of score) Cinematography looks at the photography that is the heart of all filmmaking. As always I’ll be looking for the photography that does the most to enhance the films in question and give them a unique style and aid in the storytelling. El Conde: El Conde sports the standout black and white cinematography of the year (sorry Maestro) and it comes from this Chilean satire which uses horror imagery to comment on the legacy of Augusto Pinochet. Shot by Edward Lachman, a guy normally known for his work with Todd Haynes, the film draws on the history of horror cinema, particularly German expressionism and Carl Theodor Dreyer’s Vampyr but is mostly set in a relatively contemporary environment and that makes for an interesting dichotomy. The film sports some really great use of shadows and those shots where the dictator is wearing a Dracula like cape are really cool.
The Creator: The cinematography of The Creator is credited to both Greig Fraser and Oren Soffer. This is because Fraser was supposed to be the sole DP on the film but after it ran into COVID delays he had to drop the movie in order to make Dune: Part II and the rest of the production was left in the hands of Soffer, a relative rookie who continued to use Fraser’s pre-production notes and continued to collaborate with him remotely. Sounds like a mess, but you certainly don’t see it in the final film, which most certainly bears that distinct Fraser sheen and continues a big winning spree that guy’s been on. The film was shot in an ultra-wide aspect ratio and really picks up that great ultra-resolution look that Fraser is able to accomplish but this time mostly in broad daylight instead of moody shadows.
Ferrari: After several years shooting films in a sort of raw digital way that tried to capture action scenes in a very unfiltered way that almost resembled consumer video, Michael Mann came back to making movies that look like movies with Ferrari and he did it very successfully. Granted this movie was also shot digitally by relative newcomer Erik Messerschmidt, but it’s much different from what we saw in movies like Collateral and Public Enemies, it instead is trying to capture the film’s Italian setting in a Godfathery amber tone that’s very appealing while also capturing the race scenes in all their glory.
John Wick: Chapter 4: The original John Wick was a movie was shot by a guy named Jonathan Sela, a not untalented cinematographer and he was working with a lower budget, but it’s notable that the visuals in the series improved exponentially in the sequels under the supervision of new director of photography Dan Laustsen. That reached something of a peak with this latest installment which depicts the decadent criminal underworlds John Wick inhabits with some really vivid lighting, turning almost the entire world of the film into a slick night club. The film is also able to do this while capturing action scenes in all sorts of crazy angles makes it something that deserves notice.
Saltburn: Saltburn is the only of the nominees here to have been filmed in 35mm and it was shot by Linus Sandgren, who is becoming one of the biggest specialists in that format. His mission here was to make sure that this English manor film looked distinct from the stodgy costume dramas of old and he does this in part by giving everything in the movie a very stylish look and has a lot to work with. The club and party sequences are filled with all kinds of colorful lighting while the outdoor sequences all seem to have been shot at just the right time to look appealing and distinct.
And the Golden Stake goes to…SaltburnThis movie likely didn’t scream “cinematography showcase” when it was still a screenplay but Emerald Fennell and Linus Sandgren did everything in their power to give it a distinct look from the decision to film in the Academy ratio to the choice to make the titular manor scenes look distinct form the Oxford scenes, but not through some easily placed trick. Almost every interior and every night scene seems to have some unique light source its using that gives every scene its own special characteristic but at the same time it also all feels completely unified and doesn’t seem too much like it’s showing off, while also showing off just enough to fit the heightened tone of the film.
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Post by PG Cooper on Feb 13, 2024 7:56:56 GMT -5
I'm very happy to see John Wick in this category. Still not sure what my own pick for Cinematography would be this year. I might actually lean Killers of the Flower Moon.
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Post by IanTheCool on Feb 13, 2024 19:17:41 GMT -5
Interesting
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Post by PhantomKnight on Feb 13, 2024 21:56:19 GMT -5
I can get onboard with that.
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Post by Dracula on Feb 14, 2024 7:34:28 GMT -5
Villain of the YearVillain of the Year is the category for the worst of the worst among screen villains and narrowing the field means clarifying some critera. Firstly the villain must be more or less human, especially in terms of behavior: no animals, no ghosts, no abstract concepts like “war.” Additionally, the villain must be an active antagonist in the story and cannot be an anti-hero who we follow through the movie like the characters in The Zone of Interest, and since we are following him for have of the film I’m also disqualifying Lewis Strauss from Oppenheimer on these grounds. Albert "Mister" Johnson – The Color Purple: This character, who is mostly referred to as “Mr. _____” in Alice Walker’s novel of “The Color Purple” and who was played by Danny Glover in the Spielberg version is given new life by Coleman Domingo this time around. This guy, along with his father “Ol’ Mister” and the main character’s father Alfonso are the representatives of the patriarchy at its most oppressive in The Color Purple and the stuff they all do to Celie is disturbing on its face and is made more disturbing when you realize this kind of behavior was and to some extent is common and encouraged by society and is even more tragic when you see how their actions essentially mirrors those of slave drivers, a point that’s at the heart of the work’s message.
Gabi Bauer – Infinity Pool: Infinity Pool is in many ways a film that’s filled with bad people who do villainous things including the film’s main protagonist, who is hardly innocent in all the carnage going on in the movie. And yet, the character of Gabi Bauer as played by Mia Goth still stands out as a particularly malignant presence in the movie. Essentially the ringleader of a group of rich people exploiting a loophole in a fictional countries laws in order to live a life of homicidal decadence, Bauer is someone who seems completely devoid of any kind of morality and who also becomes a rather chilling foe when she begins to target the film’s protagonist for her wrath late in the film.
William King Hale – Killers of the Flower Moon: As soon as it can Killers of the Flower Moon establishes that William King Hale, a man behind the killings of several Native Americans over the course of the film, is a rancher… a literal cowboy if you will. Ultimately though the guy acts less like a cowboy than he does like a gangster, albeit a gangster who comes in wearing a more convincing sheep’s clothing than most gangsters. He publicly comes off like a strong ally of the Osage when in public but in private reveals an extreme manifest-destiny-like disdain for them as he plots and schemes against them in chilling fashion.
M3gan – M3gan: This Blumhouse horror movie became a pretty big surprise hit when it dropped in January and that’s largely because the title character proved to be a pretty fun horror villain, one who we’re likely to see more of in the future as this produces sequels. The filmmakers wisely mostly used actual puppetry to bring this psychotic robot to life and Jenna Davis gave her a voice that was a bit freaky while also being effectively Siri/Alexa-like to feel like something they’d actually program into a consumer product.
The Spot - Spider-Man: Across the Spider-Verse: With The Spot Spider-Man: Across the Spider-Verse needs to hit a very particular balance in that they need to take what appears to be and in many ways is a joke villain and need to turn him into what feels like a real if not existential threat. Jason Schwartzman (an actor who had a great year) found just the right voice to make this guy sound like a non threatening loser to the point where you under-estimate him despite the fact that his portal powers are actually pretty formidable and his backstory adds extra layers of pathos to the character. I very much look forward to seeing how this storyline plays out in the next movie. And the Golden Stake goes to…Killers of the Flower MoonWhen I first saw Killers of the Flower Moon the Scorsese movie I most readily compared it to was Gangs of New York in that both were movies that had a passionate desire to depict an interesting time and place in American history but never quite found the best way to do it… not the most flattering comparison but it’s one with one upside: both movies had standout domineering villains who steal the show. The thing is, William King Hale isn’t a shouty and commanding villain like Bill the Butcher, he’s more of a snake in the grass defined by his shockingly cavalier disrespect for human life.
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Post by PG Cooper on Feb 14, 2024 8:06:55 GMT -5
I'm rooting for him to win the Best Supporting Actor Golden Stake.
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Post by Dracula on Feb 14, 2024 8:52:50 GMT -5
I'm rooting for him to win the Best Supporting Actor Golden Stake.  |
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Neverending
CS! Platinum
Join Date: Jul 2003
Posts: 65,765
Likes: 8,645
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Post by Neverending on Feb 14, 2024 11:46:50 GMT -5
Villain of the Year was Jason Momoa’s Gay Joker, but I appreciate the M3gan nod.
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PG Cooper
CS! Silver
Join Date: Feb 2009
And those who tasted the bite of his sword named him...The DOOM Slayer
Posts: 16,645
Likes: 4,060
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Post by PG Cooper on Feb 14, 2024 12:02:02 GMT -5
I'm rooting for him to win the Best Supporting Actor Golden Stake.  |
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PhantomKnight
CS! Gold
Join Date: Jun 2005
Posts: 20,527
Likes: 3,130
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Post by PhantomKnight on Feb 14, 2024 13:47:36 GMT -5
I honestly barely remember the winner.
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