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Thread: 2010 Awards and Critic Lists Discussion Thread

  1. #551
    Montage, s'il vous plait? Raiders's Avatar
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    The idea that Eisenberg, who I liked, gave a better performance than Gosling, Reynolds, heck even McGregor, is rather strange to me. But, I find the praise for Lawrence more baffling. The character isn't very interesting, deep or dynamic and despite her conviction and stoicism, she doesn't do much to broaden the character's impact.
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  2. #552
    Director chrisnu's Avatar
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    Quote Quoting Spinal (view post)
    Wow. No.
    Hailee Steinfeld is ranked above Michelle Williams.
    Contagion (Soderbergh, 2011) - 6.5
    The Descendants (Payne, 2011) - 7.5
    Midnight in Paris (Allen, 2011) - 5
    Margin Call (Chandor, 2011) - 6.5
    The Ides of March (Clooney, 2011) - 5

  3. #553
    neurotic subjectivist B-side's Avatar
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    Quote Quoting Boner M (view post)
    TBH I think Eisenberg's performance is my favorite male lead of the year, with the possible exception of Ryan Reynolds.
    Along with Gosling, I'm right there with you.
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  4. #554
    Quote Quoting DavidSeven (view post)
    Total case of voting for "best actors in the movies we like the most" syndrome.
    Well, isn't trying to divvy up performance from script, direction, and editing for the sake of yearly awards inherently absurd in the first place?
    Just because...
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  5. #555
    something real elixir's Avatar
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    Quote Quoting baby doll (view post)
    Well, isn't trying to divvy up performance from script, direction, and editing for the sake of yearly awards inherently absurd in the first place?
    No. Why is it absurd?

    Or do you just mean (yearly) awards in general?

  6. #556
    Quote Quoting elixir (view post)
    No. Why is it absurd?

    Or do you just mean (yearly) awards in general?
    For instance, the film that moved me the most last year was Marco Bellocchio's Vincere, and I don't think you can't separate Giovanni Mezzogiorno's performance from how Bellocchio edits her reaction shots, at one point cutting between a scene from The Kid and Mezzogiorno watching it, nor would that sequence be as affecting without everything that happens in the story leading up to it. Not to mention all the unconscious biases that I'm bringing to the film. (Leftist political movies by '60s auteurs, good. Hot European actresses, good. Charlie Chaplin, good, although I didn't see The Kid until shortly afterward.) So to try to pick the best performance of the year independent of the film seems impossible, if not difficult. I mean, maybe Hailee Steinfeld is a fine young actress, but I found her one note precociousness rather grating (although I seem to be in the minority on that one).
    Just because...
    The Fabelmans (Steven Spielberg, 2022) mild
    Petite maman (Céline Sciamma, 2021) mild
    The Banshees of Inisherin (Martin McDonagh, 2022) mild

    The last book I read was...
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    The (New) World

  7. #557
    something real elixir's Avatar
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    Quote Quoting baby doll (view post)
    For instance, the film that moved me the most last year was Marco Bellocchio's Vincere, and I don't think you can't separate Giovanni Mezzogiorno's performance from how Bellocchio edits her reaction shots, at one point cutting between a scene from The Kid and Mezzogiorno watching it, nor would that sequence be as affecting without everything that happens in the story leading up to it. Not to mention all the unconscious biases that I'm bringing to the film. So to try to pick the best performance of the year independent of the film seems impossible, if not difficult. I mean, maybe Hailee Steinfeld is a fine young actress, but I found her one note precociousness rather grating (although I seem to be in the minority on that one).
    Well, yeah, of course it's subjective--I don't think anyone would debate that.

    And, yes, every aspect of a film is intertwined and can't be untangled from the rest.

    But that doesn't mean certain aspects can't stand out. That doesn't mean that an amazing performance in an okay film can't be better than a very good performance in an incredible film.

    For example, I thought Mezzogiornio's performance was perhaps the best last year (although I also loved JeonDo Yeon, if that counts as 2010...), but I didn't love Vincere. So, while your points are certainly valid, I don't think it's absurd to single out certain categories.

  8. #558
    Evil mind, evil sword. Ivan Drago's Avatar
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    Banksy got banned from attending. Damn.

    http://www.associatedcontent.com/art...rs.html?cat=40
    Last Five Films I've Seen (Out of 5)

    The Boy, The Mole, The Fox and the Horse (Mackesy, 2022) 4.5
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    Confess, Fletch (Mottola, 2022) 3.5
    M3GAN (Johnstone, 2023) 3.5
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  9. #559
    ZOT! Adam's Avatar
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    Because monkey masks have no place at an event as prestigious as The Oscars


  10. #560
    Here till the end MadMan's Avatar
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    Quote Quoting Adam (view post)
    Because monkey masks have no place at an event as prestigious as The Oscars

    Haha. I completely forgot that they did that one year.

    Maybe its because this year hasn't been as awesome as 2009 (at least based on my viewings-hey my opinion could change) but I almost forgot the Oscars were this Sunday. Also probably because I haven't entered any online contests. I'll probably just post guesses for winners before the ceremony....
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  11. #561
    Quote Quoting MadMan (view post)
    Maybe its because this year hasn't been as awesome as 2009...
    No, this year's pretty bad--at least, if we're talking about movies nominated for the Oscars. When it comes to over-hyped critics' darlings about recent history, I'd say that The Hurt Locker and The Social Network are about par. Similarly, when it comes to over-hyped fanboy favorites, I'm not any more keen on Inception (neat structure but mostly lackluster execution) than I was on Avatar (cool textures and colours but little else). That said, when it comes to indie miserablist movies centering on a poor teenage girl from a broken home that court cultural stereotypes, I prefer Precious for its wacky risk-taking over the relatively staid Winter's Bone. Furthermore, it seems ridiculously unfair to contrast The King's Speech with Inglourious Basterds (both World War II movies), or True Grit (one of the Coens' worst) with A Serious Man (their best so far).
    Just because...
    The Fabelmans (Steven Spielberg, 2022) mild
    Petite maman (Céline Sciamma, 2021) mild
    The Banshees of Inisherin (Martin McDonagh, 2022) mild

    The last book I read was...
    The Complete Short Stories by Mark Twain


    The (New) World

  12. #562
    Here till the end MadMan's Avatar
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    Quote Quoting baby doll (view post)
    No, this year's pretty bad--at least, if we're talking about movies nominated for the Oscars. When it comes to over-hyped critics' darlings about recent history, I'd say that The Hurt Locker and The Social Network are about par. Similarly, when it comes to over-hyped fanboy favorites, I'm not any more keen on Inception (neat structure but mostly lackluster execution) than I was on Avatar (cool textures and colours but little else). That said, when it comes to indie miserablist movies centering on a poor teenage girl from a broken home that court cultural stereotypes, I prefer Precious for its wacky risk-taking over the relatively staid Winter's Bone. Furthermore, it seems ridiculously unfair to contrast The King's Speech with Inglourious Basterds (both World War II movies), or True Grit (one of the Coens' worst) with A Serious Man (their best so far).
    I think that The Social Network>The Hurt Locker, and Inception>Avatar, and I have not seen Precious so I can't say if Winter's Bone is better, although I thought it was great. But I'm 100% certain that I don't need to view The King's Speech to know that its not better than Inglourious Basterds (that's the fanboy in me talking), and I agree fully that True Grit is lesser Coens Brothers, while A Serious Man is fantastic.

    Ah the Oscars. Old bad habbits die hard. Sunday I'll be watching the entire thing, peharps with a beer in hand. The King Speech will win way too many awards, and I'll realize that it will end up being one of those Oscar winning movies that I have no desire to ever watch, and I'll just continue bashing it without even bothering to see it like I've done to other movies.
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  13. #563
    The Pan Spinal's Avatar
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    2011 Independent Spirit Awards:

    Best Feature
    "Black Swan"

    Best Director
    Darren Aronofsky, "Black Swan"

    Best Male Lead
    James Franco, "127 Hours"

    Best Female Lead
    Natalie Portman, "Black Swan"

    Best Supporting Male
    John Hawkes, "Winter's Bone"

    Best Supporting Female
    Dale Dickey, "Winter's Bone"

    Best Screenplay
    "The Kids Are All Right"

    Best Documentary
    "Exit Through the Gift Shop"

    Best Cinematography
    Matthew Libatique, 'Black Swan'

    Best Foreign Film
    "The King's Speech"

    Best First Feature
    "Get Low"

    Best First Screenplay
    Lena Dunham, "Tiny Furniture"

    John Cassavetes Award
    "Daddy Longlegs"

    Robert Altman Award
    "Please Give"
    Coming to America (Landis, 1988) **
    The Beach Bum (Korine, 2019) *1/2
    Us (Peele, 2019) ***1/2
    Fugue (Smoczynska, 2018) ***1/2
    Prisoners (Villeneuve, 2013) ***1/2
    Shadow (Zhang, 2018) ***
    Oslo, August 31st (J. Trier, 2011) ****
    Climax (Noé, 2018) **1/2
    Fighting With My Family (Merchant, 2019) **
    Upstream Color (Carruth, 2013) ***

  14. #564
    The Pan Spinal's Avatar
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    Quote Quoting Spinal (view post)
    Best Supporting Female
    Dale Dickey, "Winter's Bone"
    I like this.
    Coming to America (Landis, 1988) **
    The Beach Bum (Korine, 2019) *1/2
    Us (Peele, 2019) ***1/2
    Fugue (Smoczynska, 2018) ***1/2
    Prisoners (Villeneuve, 2013) ***1/2
    Shadow (Zhang, 2018) ***
    Oslo, August 31st (J. Trier, 2011) ****
    Climax (Noé, 2018) **1/2
    Fighting With My Family (Merchant, 2019) **
    Upstream Color (Carruth, 2013) ***

  15. #565
    Quote Quoting Spinal (view post)
    2011 Independent Spirit Awards:

    Best Foreign Film
    "The King's Speech"
    Ugh. I mean, it's far from surprising that the movies that win these awards are relatively expensive and mainstream narrative commercial features with A-list stars that are well promoted and which get fairly a wide release (Black Swan, Get Low, The Kids Are All Right, The King's Speech, 127 Hours, Please Give), since apparently the Spirit Awards have a voting system like the Oscars and people vote for what they've seen (or at least what they've heard is good), and furthermore, if they want people to watch the telecast, a bit of Hollywood glamor doesn't hurt (James Franco, Natalie Portman), besides which there's the tendency to reward industry success stories like Black Swan and The King's Speech, which successfully made the jump from limited release to wide release--but as a cinephile, don't you feel vaguely ashamed and sickened by the whole thing? If US independent cinema fell into the ocean tomorrow, would anybody miss it?
    Just because...
    The Fabelmans (Steven Spielberg, 2022) mild
    Petite maman (Céline Sciamma, 2021) mild
    The Banshees of Inisherin (Martin McDonagh, 2022) mild

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  16. #566
    Administrator Ezee E's Avatar
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    Daddy Longlegs is the only "true" indie winner there I guess.

    Winter's Bone is one too.

    I honestly think with the success of lower-budgeted movies like Black Swan, True Grit, and The King's Speech, that Hollywood may be headed into a better direction. Especially with the huge flops that were How Do You Know, Gulliver's Travels, and even Tron to an extent. Yes, the sequels will keep coming, because they're doing fantastic too.

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  17. #567
    Quote Quoting Ezee E (view post)
    Daddy Longlegs is the only "true" indie winner there I guess.

    Winter's Bone is one too.

    I honestly think with the success of lower-budgeted movies like Black Swan, True Grit, and The King's Speech, that Hollywood may be headed into a better direction. Especially with the huge flops that were How Do You Know, Gulliver's Travels, and even Tron to an extent. Yes, the sequels will keep coming, because they're doing fantastic too.
    I'm afraid I don't share your optimism about Hollywood changing course, in part because I disliked Black Swan, The King's Speech, and True Grit. My own feeling is that, given the cost of a big theatrical roll-out versus the relative inexpense of putting a movie out on DVD, theatrical distribution in North America is essentially dead (notwithstanding a few big cities like New York that have independently run theatres). For instance, if you take a movie like Dogtooth (which gave me more pleasure than the eight Best Picture nominees I've seen combined), it's not the sort of film that's not going to turn up at the local art house in most North American cities, but people are seeing it because of DVD and video on demand. Sure, there are movies that open in wide release that are worthwhile (Exit Through the Gift Shop, for instance), but I find with reviewers' top ten lists and awards, they talk as if the only movies even worth discussing are films that could win an Oscar--i.e., Black Swan, The King's Speech, The Social Network, and a few other well promoted prestige flicks. But if that were all I saw, I wouldn't be as interested in cinema.
    Just because...
    The Fabelmans (Steven Spielberg, 2022) mild
    Petite maman (Céline Sciamma, 2021) mild
    The Banshees of Inisherin (Martin McDonagh, 2022) mild

    The last book I read was...
    The Complete Short Stories by Mark Twain


    The (New) World

  18. #568
    Administrator Ezee E's Avatar
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    Quote Quoting baby doll (view post)
    I'm afraid I don't share your optimism about Hollywood changing course, in part because I disliked Black Swan, The King's Speech, and True Grit. My own feeling is that, given the cost of a big theatrical roll-out versus the relative inexpense of putting a movie out on DVD, theatrical distribution in North America is essentially dead (notwithstanding a few big cities like New York that have independently run theatres). For instance, if you take a movie like Dogtooth (which gave me more pleasure than the eight Best Picture nominees I've seen combined), it's not the sort of film that's not going to turn up at the local art house in most North American cities, but people are seeing it because of DVD and video on demand. Sure, there are movies that open in wide release that are worthwhile (Exit Through the Gift Shop, for instance), but I find with reviewers' top ten lists and awards, they talk as if the only movies even worth discussing are films that could win an Oscar--i.e., Black Swan, The King's Speech, The Social Network, and a few other well promoted prestige flicks. But if that were all I saw, I wouldn't be as interested in cinema.
    The foreign movies and Sundance movies are actually doing fantastic on the On-Demand/Instant Watch scene. But looking at the landmark theatre website, and they still seem to be getting the playtimes that they usually do once the Oscars are past. The Housemaid, Poetry, and I Saw The Devil are all getting runs.

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  19. #569
    Quote Quoting Ezee E (view post)
    The foreign movies and Sundance movies are actually doing fantastic on the On-Demand/Instant Watch scene. But looking at the landmark theatre website, and they still seem to be getting the playtimes that they usually do once the Oscars are past. The Housemaid, Poetry, and I Saw The Devil are all getting runs.
    Let's take Poetry, for instance. Right now it's playing on three screens in the US. And while it's gotten good reviews, the film's distributor (Kino, who also released Dogtooth) is a small company, so it's not going to have as wide a release as, say, Biutiful (which opened on 59 screens and at its peak was playing on 191). So most people in North America who see the film will do so at home rather than in a theatre, and that's what I mean by theatrical distribution being dead in this part of the world. There are good movies being made, but it's too expensive to release them theatrically in most cities. Yet it's only the films that open wide and are well promoted that anyone talks about. In other words, publicity drives the discourse.
    Just because...
    The Fabelmans (Steven Spielberg, 2022) mild
    Petite maman (Céline Sciamma, 2021) mild
    The Banshees of Inisherin (Martin McDonagh, 2022) mild

    The last book I read was...
    The Complete Short Stories by Mark Twain


    The (New) World

  20. #570
    Administrator Ezee E's Avatar
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    Right. But it's a foreign movie, so a totally different topic.

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  21. #571
    Quote Quoting Ezee E (view post)
    Right. But it's a foreign movie, so a totally different topic.
    Well, it's all cinema. My point is simply that a lot of the most interesting movies (whether they're being made in the US or elsewhere) don't play in most American cities, and there's much more variety on DVD and on-demand. Yet unless a film has a big theatrical roll-out like Black Swan or The Social Network, the culture at large doesn't consider them important (even a film as interesting as Dogtooth).
    Just because...
    The Fabelmans (Steven Spielberg, 2022) mild
    Petite maman (Céline Sciamma, 2021) mild
    The Banshees of Inisherin (Martin McDonagh, 2022) mild

    The last book I read was...
    The Complete Short Stories by Mark Twain


    The (New) World

  22. #572
    Administrator Ezee E's Avatar
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    Quote Quoting baby doll (view post)
    Well, it's all cinema. My point is simply that a lot of the most interesting movies (whether they're being made in the US or elsewhere) don't play in most American cities, and there's much more variety on DVD and on-demand. Yet unless a film has a big theatrical roll-out like Black Swan or The Social Network, the culture at large doesn't consider them important (even a film as interesting as Dogtooth).
    Didn't I just say that foreign films are a different realm of distribution? It's cinema, but it's like comparing Godard to Bergman...

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  23. #573
    Quote Quoting Ezee E (view post)
    Didn't I just say that foreign films are a different realm of distribution? It's cinema, but it's like comparing Godard to Bergman...
    And when Bergman and Godard were at their most "relevant," during the postwar boom in foreign film distribution, that whole golden age only came about because there were more independent theatres in the United States. (It was in 1948 that the US supreme court ruled that Paramount had to sell off its theatre chain.) After all, The Passion of the Christ is a subtitled independent movie without any big stars (unless you count the director), and it made like a bazillion dollars.
    Just because...
    The Fabelmans (Steven Spielberg, 2022) mild
    Petite maman (Céline Sciamma, 2021) mild
    The Banshees of Inisherin (Martin McDonagh, 2022) mild

    The last book I read was...
    The Complete Short Stories by Mark Twain


    The (New) World

  24. #574
    Administrator Ezee E's Avatar
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    Anyone else have an opinion on this?

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  25. #575
    needs therapy, maybe. NickGlass's Avatar
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    baby doll is saying that these "modestly" budgeted films are only seen and awarded because their marketing campaigns are not so modest. And it's hard to argue with that; Hollywood is a very obvious marketing system.
    I'm writing for Slant Magazine now, so check out my list of reviews.

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