Just noticed I can finally catch Call Me By Your Name and Phantom Thread on Friday. Going to pay $6 for the Star Wars matinee and then go into the films that I actually want to see thirty minutes later. Going to stretch this Fandango gift card out.
By reilo Go To PostPretty sure there's ways to encrypt the Blu-Rays and such that require some sort of two-factor authentication if they were so concerned about leaks, but whatever. Old farts and all.I know that they used to stamp a watermark or phone number and change the color for the screeners. I'm sure that pirates, or whoever is responsible to leaking them, had the screen cropped or blurred to counter that. But since they're still using DVD's that shows how much they care about quality or cost involved with screeners. On one hand you'd think they'd make a database so that person A: has a watermark at 1 minute, 20 seconds, person B: watermark at 1 minutes, 45 seconds and so on. But even then, if you've got thousands of eligible voters, that plan probably isn't feasible.
Caught a few films recently:
3 Billboards: McDonagh gets better with each picture. In many ways 3BoEM is not too different from his previous pictures in their tone, structure or direction, but whereas In Bruges and Seven Psychopaths were first and foremost dark comedies, 3BoEM is ultimately a dramatic film that happens to have a rich vein of dark comedy running through it. There is just a bit more weight to everything that happens in the film because of that. My only complaint is that Frances McDormand just made me think of Fargo all the time, despite absolutely nailing the performance.
The Shape of Water: At it's heart this is a very simple film. It's just a love story, that happens to feature a very unusual couple as its lead. Everything about it is so beautifully done though that it elevates the movie. A lot of the side plot involving the Cold War felt a tad unnecessary to me, but on the other hand it did keep things moving and perhaps prevented the film from descending into fluff. I couldn't help but wonder if Del Toro was going to mimic Split and reveal at the end that the fishman was the same guy from Hellboy, but probably better that he didn't.
The Room: I've read that you don't have to have seen this to appreciate the Disaster Artist, but I still wanted to check out such a legend anyway. It didn't disappoint. I'm most baffled by the sex scene that takes place between the girl and Wiseau's friend, on the stairs for no apparent reason. Wiseau shot his excruciating scenes in his bed each time, so he obviously understands that that is where sex takes place, even if he doesn't seem to have any other idea of how humans mate. But he shoots this one on the circular, wooden staircase. Does he not realize how bloody uncomfortable that would be? The couple is literally equidistant between a sofa and a bed and yet they chose the most awkward fucking place! Though maybe they don't want to use the sofa since, for some bizarre reason, the girl lets her two friends into her house to perform oral on the sofa. Anyway, I recommend The Room.
Kingsman 2: I think this film suffers a lot by following the first film. Taken on it's own merits, it's a fun spy flick that still manages to be better than the average blockbuster crap that a Marvel or F&F might serve up. Still, there's just so much strange stuff in this film, it was quite obvious that they had a lot of problems making this, and apparently the film originally stretched to 4 hours before the theatrical cut. Colin Firth comes back, but you probably already knew that since he's plastered all over the marketing. Channing Tatum is also in the film, but you probably didn't know that he isn't really in the film, he just shows up for 5 minutes then gets put in an ice box. I'm convinced that Pedro Pacscal's character was originally just going to be Tatum, but at some point they decided they wanted to keep Tatum around so they cast someone else and created another role. I could go on and on with these odd choices. In the end it doesn't detract too much from the action, the strong core performances or general energy that the film retains from the first entry. Dampen your expectations from the first film and I think you'll find this an enjoyable flick.
3 Billboards: McDonagh gets better with each picture. In many ways 3BoEM is not too different from his previous pictures in their tone, structure or direction, but whereas In Bruges and Seven Psychopaths were first and foremost dark comedies, 3BoEM is ultimately a dramatic film that happens to have a rich vein of dark comedy running through it. There is just a bit more weight to everything that happens in the film because of that. My only complaint is that Frances McDormand just made me think of Fargo all the time, despite absolutely nailing the performance.
The Shape of Water: At it's heart this is a very simple film. It's just a love story, that happens to feature a very unusual couple as its lead. Everything about it is so beautifully done though that it elevates the movie. A lot of the side plot involving the Cold War felt a tad unnecessary to me, but on the other hand it did keep things moving and perhaps prevented the film from descending into fluff. I couldn't help but wonder if Del Toro was going to mimic Split and reveal at the end that the fishman was the same guy from Hellboy, but probably better that he didn't.
The Room: I've read that you don't have to have seen this to appreciate the Disaster Artist, but I still wanted to check out such a legend anyway. It didn't disappoint. I'm most baffled by the sex scene that takes place between the girl and Wiseau's friend, on the stairs for no apparent reason. Wiseau shot his excruciating scenes in his bed each time, so he obviously understands that that is where sex takes place, even if he doesn't seem to have any other idea of how humans mate. But he shoots this one on the circular, wooden staircase. Does he not realize how bloody uncomfortable that would be? The couple is literally equidistant between a sofa and a bed and yet they chose the most awkward fucking place! Though maybe they don't want to use the sofa since, for some bizarre reason, the girl lets her two friends into her house to perform oral on the sofa. Anyway, I recommend The Room.
Kingsman 2: I think this film suffers a lot by following the first film. Taken on it's own merits, it's a fun spy flick that still manages to be better than the average blockbuster crap that a Marvel or F&F might serve up. Still, there's just so much strange stuff in this film, it was quite obvious that they had a lot of problems making this, and apparently the film originally stretched to 4 hours before the theatrical cut. Colin Firth comes back, but you probably already knew that since he's plastered all over the marketing. Channing Tatum is also in the film, but you probably didn't know that he isn't really in the film, he just shows up for 5 minutes then gets put in an ice box. I'm convinced that Pedro Pacscal's character was originally just going to be Tatum, but at some point they decided they wanted to keep Tatum around so they cast someone else and created another role. I could go on and on with these odd choices. In the end it doesn't detract too much from the action, the strong core performances or general energy that the film retains from the first entry. Dampen your expectations from the first film and I think you'll find this an enjoyable flick.
By Linius Go To PostYeah Logan Lucky was a fun movie. For me personally there are quite some films I put above it though. Really loved Your Name, Dunkirk, The Disaster Artist, Blade Runner 2049, The Big Sick, The Killing of a Sacred Deer, Baby Driver, John Wick 2 and Brawl in Cellblock 99 from 2017.I did like Your Name, Dunkirk, Baby Driver but thought they were missing something to make it into my top of the list. Top 10 definetly though.
Still have a bunch to catch up to though that hasn't been released here. Currently have Lady Bird, The Florida Project, Three Billboards Outside Missouri Ebbing, All the Money in the World, Molly's Game, Shape of Water, You Were Never Really Here, The Post and I, Tonya on my watch list.
Sacred Deer is really weird one. I didn't particularity enjoy the fact how weird it was for no reason at all, but it was an interesting watch and one that stays with you for very long time. All The Money in the world and Molly Game were enjoyable, but they had the Hollywood glamour that made them not honest enough.
I really didn't like The big Sick, The Disaster Artist or Lady Bird.
Oh yeah, 3 Billboard was fantastic too.
Call Me By Your Name was gorgeous; Chalamet losing all the awards to Oldman is a fucking travesty. Feels like the kind of film you just want to bathe in; its atmosphere is so vivid and opaque, its music jittery and nervous and romantic and celebratory all at the same time.
Everyone and everything in the fuckin' town was so fuckin' nice - this was the absolute definition of utopia fam - but I can let that slide. And let the streak of 'Michael Stuhlbarg being sensational in everything' never end.
Everyone and everything in the fuckin' town was so fuckin' nice - this was the absolute definition of utopia fam - but I can let that slide. And let the streak of 'Michael Stuhlbarg being sensational in everything' never end.
I desperately want to watch Call Me By Your Name, hopefully it will come to my local cinema next month.
DiCaprio apparently has joined Tarantino's Mason movie.
Edit: Amazon's Video Prime service is so fucking shit outside of countries that have a local Amazon online store.
Manchester By The Sea and The Big Sick are still not available in Portugal.
DiCaprio apparently has joined Tarantino's Mason movie.
Edit: Amazon's Video Prime service is so fucking shit outside of countries that have a local Amazon online store.
Manchester By The Sea and The Big Sick are still not available in Portugal.
I finally watched Iron Man 1
I really liked the whole suit building part(the mk 2 not the mk 1) and I really liked Gwyneth Paltrow. The rest was kind of 'eh'
I really liked the whole suit building part(the mk 2 not the mk 1) and I really liked Gwyneth Paltrow. The rest was kind of 'eh'
Paul Thomas Anderson called Call Me By Your Name his favorite of 2017, and loved The Last Jedi. All your opinions are now invalid. All Hail PTA.
Just out of Call Me By Your Name. Enjoyed it. Not sure how much older Oliver was than Elio but it was a cute little story. I was not moved by the ending. Thought it was just a good conclusion to a well told story. Some really nice shots of that part of Italy by the director.
Sitting down for Phantom Thread in fifteen minutes.
Sitting down for Phantom Thread in fifteen minutes.
By GQman2121 Go To PostJust out of Call Me By Your Name. Enjoyed it. .So it Wasn't THE BEST THING EVER?!!!
By s y Go To PostSo it Wasn't THE BEST THING EVER?!!!Not for me. One of the better films I've seen over the last year though, yes.
But I also think 3 Billboards and Baby Driver are easily the worsts films of the year, so what do I know?
I really enjoyed Call Me By Your Name, but think Chalamet and Hammer did a lot of the heavy lifting into helping me buy into their chemistry where the writing was lacking. It seemed to skip over a lot of the development of their relationship. The visuals, score and acting all papered over the gaps, but I would have liked a lot more meat on its bones. Still one of the best of the year, mind.
Three Billboards Outside Ebbing, Missouri
Possibly my favourite film of the year.
Laugh out loud funny, gently funny, wryly funny, dryly funny as well as a tear jerker and a constantly emotional gut punch.
The acting is as good as has been said elsewhere: McDormand is incredible throughout, running the gamut from rage to sorrow, caustically funny and everything in between; Rockwell does a superlative job with a tough role; Harrelson is warm and endearing; Dinklage, Hedges, Ivanek and Hughes all offer really good support.
The only issue I have with it is that McDonagh seems to have an odd fascination with dwarves; despite him trying to garner sympathy for Dinklage, it comes across as empty and just another reason to further emphasise everyone’s an arsehole.
But other than that, great. I can imagine some of the criticism seems to be rooted in its utter lack of interest in playing like a typical film structurally and narratively, which isn’t surprising considering McDonagh’s past.
Three Billboards Outside Ebbing, Missouri
Possibly my favourite film of the year.
Laugh out loud funny, gently funny, wryly funny, dryly funny as well as a tear jerker and a constantly emotional gut punch.
The acting is as good as has been said elsewhere: McDormand is incredible throughout, running the gamut from rage to sorrow, caustically funny and everything in between; Rockwell does a superlative job with a tough role; Harrelson is warm and endearing; Dinklage, Hedges, Ivanek and Hughes all offer really good support.
The only issue I have with it is that McDonagh seems to have an odd fascination with dwarves; despite him trying to garner sympathy for Dinklage, it comes across as empty and just another reason to further emphasise everyone’s an arsehole.
But other than that, great. I can imagine some of the criticism seems to be rooted in its utter lack of interest in playing like a typical film structurally and narratively, which isn’t surprising considering McDonagh’s past.
Saw TLJ the other night. Was pretty good. Thought some stuff could have been better but mostly laughing at folks who hate it. It's so Star Wars it hurts.
Gyllenhaal's character makes me REALLY uncomfortable the entire time in Nightcrawler. I guess that's a good thing but it makes getting through the movie hard.
Phantom Thread was pretty dark. Very twisted at its core.
I didn't care for, or even remember anything about Inherit Vice, but this was smooth viewing for the entire two plus hours as you learn more and more about DDL's Reyolds Woodcock and his latest muse.
I'm going to pickup the BD to share with people at home because I definitely want to watch this again.
I didn't care for, or even remember anything about Inherit Vice, but this was smooth viewing for the entire two plus hours as you learn more and more about DDL's Reyolds Woodcock and his latest muse.
I'm going to pickup the BD to share with people at home because I definitely want to watch this again.
By data Go To PostGyllenhaal's character makes me REALLY uncomfortable the entire time in Nightcrawler. I guess that's a good thing but it makes getting through the movie hard.If you liked Nightcrawler, you should really watch Netflix's Shot In The Dark.
By data Go To PostGyllenhaal's character makes me REALLY uncomfortable the entire time in Nightcrawler. I guess that's a good thing but it makes getting through the movie hard.Should have been at least nominated for Best Actor at the Oscars.
Went to rewatch the Disaster Artist but this time with a crowd that was both very into it and that had few ideas of what The Room was about, what a great experience.
By Zabojnik Go To PostThor Ragnarok is out on distros. /LFMMentioned it yesterday on the Football Thread. Massive cock up from Apple as they accidentally released the movie for some people one month before the release date on iTunes.
https://www.vanityfair.com/hollywood/2017/12/legendary-cinematographer-roger-deakins-gets-his-oscar
Sucks for Deakins that he's gonna lose to Hoyte this year.
Sucks for Deakins that he's gonna lose to Hoyte this year.
About to see The Post. Know Arnie and Will weren’t overwhelmingly keen on it but I’m a bigger fan of late Berg than most.
By n8 dogg Go To PostAbout to see The Post. Know Arnie and Will weren’t overwhelmingly keen on it but I’m a bigger fan of late Berg than most.
Its real underwhelming.
The Post
didactic
didactic
dɪˈdaktɪk,dʌɪˈdaktɪk/
adjective
adjective: didactic
intended to teach, particularly in having moral instruction as an ulterior motive.
"a didactic novel that set out to expose social injustice"
synonyms: instructive, instructional, educational, educative, informative, informational, doctrinal, preceptive, teaching, pedagogic, academic, scholastic, tuitional; More
edifying, improving, enlightening, illuminating, heuristic;
pedantic, moralistic, homiletic;
rarepropaedeutic
"the inmates preferred social rather than didactic activities"
in the manner of a teacher, particularly so as to appear patronizing.
"his tone ranged from didactic to backslapping"
Origin
mid 17th century: from Greek didaktikos, from didaskein‘teach’.
didactic
didactic
dɪˈdaktɪk,dʌɪˈdaktɪk/
adjective
adjective: didactic
intended to teach, particularly in having moral instruction as an ulterior motive.
"a didactic novel that set out to expose social injustice"
synonyms: instructive, instructional, educational, educative, informative, informational, doctrinal, preceptive, teaching, pedagogic, academic, scholastic, tuitional; More
edifying, improving, enlightening, illuminating, heuristic;
pedantic, moralistic, homiletic;
rarepropaedeutic
"the inmates preferred social rather than didactic activities"
in the manner of a teacher, particularly so as to appear patronizing.
"his tone ranged from didactic to backslapping"
Origin
mid 17th century: from Greek didaktikos, from didaskein‘teach’.
By n8 dogg Go To PostThe Post
didactic
didactic
dɪˈdaktɪk,dʌɪˈdaktɪk/
adjective
adjective: didactic
intended to teach, particularly in having moral instruction as an ulterior motive.
"a didactic novel that set out to expose social injustice"
synonyms: instructive, instructional, educational, educative, informative, informational, doctrinal, preceptive, teaching, pedagogic, academic, scholastic, tuitional; More
edifying, improving, enlightening, illuminating, heuristic;
pedantic, moralistic, homiletic;
rarepropaedeutic
"the inmates preferred social rather than didactic activities"
in the manner of a teacher, particularly so as to appear patronizing.
"his tone ranged from didactic to backslapping"
Origin
mid 17th century: from Greek didaktikos, from didaskein‘teach’.
By n8 dogg Go To Postbreh this shit is basically an inspector calls 2.0With great power, comes great responsibility.
The Post
Didactic to a fault, this most reminded me of JB Priestley’s An Inspector Calls - set in the past, released in this particular present, worryingly prescient about the future, that cliffhanger ending leading into questions much bigger, the spectre of responsibility hanging over everything. It spends so much time preaching that message over and over again, line after line after line, that the film becomes more of a message rather than its own compelling narrative, compelling as the narrative is. The jarring effect of having each character bat you over the head with ‘gee guys, the First Amendment is sacred’ for nigh-on two hours certainly solidifies The Post’s position as a movie for the age of Trump, echoing the age of Nixon, but leaves it feeling almost like a relic from the age of Roosevelt.
There’s an odd juxtaposition between the performances of its stars and the supporting cast, too; Streep and Hanks are showy distinct characters in every sense of the word, each ‘no shit’, each exasperated gasp controlled and calculated and artificial (not necessarily an insult). Meanwhile, every actor that surrounds them comes from the land of prestige TV; Odenkirk, Coon, Cross, Greenwood, Rhys, Brie, Whitford et al (Sarah Paulson didn’t get anywhere near enough to do, boooooo) show more confidence with the pace of the dialogue, the naturalism of its conversational tone as well as not selling that didacticism so portentously like the stars do.
Technically it’s largely impressive; said time and time again, Spielberg is an absolute master of blocking, the newsroom scenes containing an extraordinary amount of freneticism and energy that he captures with every swooping movement, while the camera gently glides between guests at the elegant parties at Graham’s house. Kaminski’s schtick is a little old by now: sepia tones; constant shadow; Vaseline-looking effect everywhere. I’d like to see Spielberg with someone like van Hoytema who captures starker images without losing any of their beauty.
It’s a pretty good film that will gain further relevance in the days after Trump, despite it being made very much for the here and now.
3/5
The Shape of Water
Wearing its heart totally on its sleeve, del Toro’s best English language film features the best female performance of the year, the best score of the year, the best production design of the year and the best fish man of the year; however, the Shape of Water tries to fit in so much, such is del Toro’s enthusiasm for the world he’s created that it sometimes plays as too frantic for the story it’s trying to tell.
When del Toro allows himself to slow down - usually in scenes involving Eliza and the creature - , there’s a poignancy and beauty that outstrips almost anything made in 2017. However, he also tries to juggle subplots concerning Russian spies, Michael Shannon’s desire to be accepted at work, Octavia Spencer’s deadbeat husband, Richard Jenkins’ job-hunting struggles and closeted troubles… it’s too much for one film, leaving some of its strands underdeveloped and not making as much room as it could for what is overwhelmingly its strongest (the main narrative).
Sally Hawkins is magisterial, and it’s a shame that McDormand had to be in Three Billboards this year; as wonderful and completely deserving as she is, the notion that Hawkins walks away empty-handed after this absolute masterclass in control and the conveyance of emotion is sad (not to mention her roles in Paddington 2 and one I haven’t seen, Maudie). Similar to The Post, some of the showier, broader performances are at odds with the composed and low-key ones; Jenkins and Stuhlbarg (as usual for both; Stuhlbarg in particular is having a stellar year) are wonderful, while Spencer makes for an endearing presence but is underserved by the script so overplays some of her role and slips into cliche. Shannon is and has always been a one-note actor, and sometimes that is utilised better than it is here; he contrasts too heavily with the rest of the cast, and comes across comical and cartoonish when a subtler, colder and quietly chilling villain would have been more successful in my eyes. I think Adam Driver could have been a good shout, off the top of my head.
A very very good movie that has only grown in my head as I wrote this review; I started off with it sixth or seventh in my films of the year list and I’m almost certain it’s raised almost to the top as I think about it. Will hold off on the score for now and let me ruminate over night. It's so earnest, so genuine, so in love with film and music and hope and love that it cannot help but be a massive success. In some ways, as devoid of cynicism as Paddington 2 is, a genre piece crafted with as much love as the Last Jedi was.
Gotta say, I think this is going to be the best year at the Oscars for quite a while; I’ve seen almost all of the favourites and really liked all of them. And such an eclectic mix; not one of them (save the Post, which may not even make it) really qualifies as Oscar bait.
Didactic to a fault, this most reminded me of JB Priestley’s An Inspector Calls - set in the past, released in this particular present, worryingly prescient about the future, that cliffhanger ending leading into questions much bigger, the spectre of responsibility hanging over everything. It spends so much time preaching that message over and over again, line after line after line, that the film becomes more of a message rather than its own compelling narrative, compelling as the narrative is. The jarring effect of having each character bat you over the head with ‘gee guys, the First Amendment is sacred’ for nigh-on two hours certainly solidifies The Post’s position as a movie for the age of Trump, echoing the age of Nixon, but leaves it feeling almost like a relic from the age of Roosevelt.
There’s an odd juxtaposition between the performances of its stars and the supporting cast, too; Streep and Hanks are showy distinct characters in every sense of the word, each ‘no shit’, each exasperated gasp controlled and calculated and artificial (not necessarily an insult). Meanwhile, every actor that surrounds them comes from the land of prestige TV; Odenkirk, Coon, Cross, Greenwood, Rhys, Brie, Whitford et al (Sarah Paulson didn’t get anywhere near enough to do, boooooo) show more confidence with the pace of the dialogue, the naturalism of its conversational tone as well as not selling that didacticism so portentously like the stars do.
Technically it’s largely impressive; said time and time again, Spielberg is an absolute master of blocking, the newsroom scenes containing an extraordinary amount of freneticism and energy that he captures with every swooping movement, while the camera gently glides between guests at the elegant parties at Graham’s house. Kaminski’s schtick is a little old by now: sepia tones; constant shadow; Vaseline-looking effect everywhere. I’d like to see Spielberg with someone like van Hoytema who captures starker images without losing any of their beauty.
It’s a pretty good film that will gain further relevance in the days after Trump, despite it being made very much for the here and now.
3/5
The Shape of Water
Wearing its heart totally on its sleeve, del Toro’s best English language film features the best female performance of the year, the best score of the year, the best production design of the year and the best fish man of the year; however, the Shape of Water tries to fit in so much, such is del Toro’s enthusiasm for the world he’s created that it sometimes plays as too frantic for the story it’s trying to tell.
When del Toro allows himself to slow down - usually in scenes involving Eliza and the creature - , there’s a poignancy and beauty that outstrips almost anything made in 2017. However, he also tries to juggle subplots concerning Russian spies, Michael Shannon’s desire to be accepted at work, Octavia Spencer’s deadbeat husband, Richard Jenkins’ job-hunting struggles and closeted troubles… it’s too much for one film, leaving some of its strands underdeveloped and not making as much room as it could for what is overwhelmingly its strongest (the main narrative).
Sally Hawkins is magisterial, and it’s a shame that McDormand had to be in Three Billboards this year; as wonderful and completely deserving as she is, the notion that Hawkins walks away empty-handed after this absolute masterclass in control and the conveyance of emotion is sad (not to mention her roles in Paddington 2 and one I haven’t seen, Maudie). Similar to The Post, some of the showier, broader performances are at odds with the composed and low-key ones; Jenkins and Stuhlbarg (as usual for both; Stuhlbarg in particular is having a stellar year) are wonderful, while Spencer makes for an endearing presence but is underserved by the script so overplays some of her role and slips into cliche. Shannon is and has always been a one-note actor, and sometimes that is utilised better than it is here; he contrasts too heavily with the rest of the cast, and comes across comical and cartoonish when a subtler, colder and quietly chilling villain would have been more successful in my eyes. I think Adam Driver could have been a good shout, off the top of my head.
A very very good movie that has only grown in my head as I wrote this review; I started off with it sixth or seventh in my films of the year list and I’m almost certain it’s raised almost to the top as I think about it. Will hold off on the score for now and let me ruminate over night. It's so earnest, so genuine, so in love with film and music and hope and love that it cannot help but be a massive success. In some ways, as devoid of cynicism as Paddington 2 is, a genre piece crafted with as much love as the Last Jedi was.
Gotta say, I think this is going to be the best year at the Oscars for quite a while; I’ve seen almost all of the favourites and really liked all of them. And such an eclectic mix; not one of them (save the Post, which may not even make it) really qualifies as Oscar bait.
Oscar prediction time. Too tired to do the rest of the technical awards, so this will have to do it.
Best Picture
1. Shape of Water
2. Three Billboards Outside Ebbing, Missouri
3. Dunkirk
4. Get Out
5. Call Me By Your Name
6. Lady Bird
7. The Darkest Hour
8. Blade Runner 2049
Best Director
1. Del Toro
2. Nolan
3. Gerwig
4. Peele
5. McDonagh
Best Actress
1. Frances
2. Ronan
3. Robbie
4. Hawkins
5. Chastain
Best Supporting Actress
1. Janney
2. Spencer
3. Metcalf
4. Blige
5. Hunter
Best Actor
1. Oldman
2. Franco
3. Day-Lewis
4. Chalamet
5. Kaluuya
Best Supporting Actor
1. Rockwell
2. Jenkins
3. Dafoe
4. Hammer
5. Plummer
Original Screenplay
1. Get Out
2. Three Billboards
3. Lady Bird
4. Shape of Water
5. The Big Sick
Adapted Screenplay
1. Call Me
2. Molly's Game
3. Disaster Artist
4. Mudbound
5. Logan
Editing
1. Dunkirk
2. Shape
3. Blade Runner 2049
4. I, Tonya
5. Get Out
Cinematography
1. Dunkirk
2. Blade Runner 2049
3. Shape of Water
4. Darkest Hour
5. Mudbound
Original Score
1. Dunkirk
2. Shape of Water
3. Phantom Thread
4. Blade Runner 2049
5. Beauty and the Beast
Best Picture
1. Shape of Water
2. Three Billboards Outside Ebbing, Missouri
3. Dunkirk
4. Get Out
5. Call Me By Your Name
6. Lady Bird
7. The Darkest Hour
8. Blade Runner 2049
Best Director
1. Del Toro
2. Nolan
3. Gerwig
4. Peele
5. McDonagh
Best Actress
1. Frances
2. Ronan
3. Robbie
4. Hawkins
5. Chastain
Best Supporting Actress
1. Janney
2. Spencer
3. Metcalf
4. Blige
5. Hunter
Best Actor
1. Oldman
2. Franco
3. Day-Lewis
4. Chalamet
5. Kaluuya
Best Supporting Actor
1. Rockwell
2. Jenkins
3. Dafoe
4. Hammer
5. Plummer
Original Screenplay
1. Get Out
2. Three Billboards
3. Lady Bird
4. Shape of Water
5. The Big Sick
Adapted Screenplay
1. Call Me
2. Molly's Game
3. Disaster Artist
4. Mudbound
5. Logan
Editing
1. Dunkirk
2. Shape
3. Blade Runner 2049
4. I, Tonya
5. Get Out
Cinematography
1. Dunkirk
2. Blade Runner 2049
3. Shape of Water
4. Darkest Hour
5. Mudbound
Original Score
1. Dunkirk
2. Shape of Water
3. Phantom Thread
4. Blade Runner 2049
5. Beauty and the Beast
By RATHasReturned Go To PostOscar prediction time. Too tired to do the rest of the technical awards, so this will have to do it.
Best Picture
1. Shape of Water
2. Three Billboards Outside Ebbing, Missouri
3. Dunkirk
4. Get Out
5. Call Me By Your Name
6. Lady Bird
7. The Florida Project
8. The Big Sick
9. Wonder Woman
Best Director
1. Del Toro
2. Nolan
3. Gerwig
4. Peele
5. McDonagh
Best Actress
1. McDormand
2. Ronan
3. Robbie
4. Hawkins
5. Chastain
Best Supporting Actress
1. Janney
2. Spencer
3. Metcalf
4. Blige
5. Hunter
Best Actor
1. Oldman
2. Kaluuya
3. Day-Lewis
4. Chalamet
5. Washington
Best Supporting Actor
1. Rockwell
2. Jenkins
3. Dafoe
4. Stuhlbarg
5. Harrelson
Original Screenplay
1. Get Out
2. Three Billboards
3. Lady Bird
4. Shape of Water
5. The Big Sick
Adapted Screenplay
1. Call Me
2. Molly's Game
3. Disaster Artist
4. Mudbound
5. The Post
Editing
1. Dunkirk
2. Shape
3. Blade Runner 2049
4. The Last Jedi
5. Get Out
Cinematography
1. Dunkirk
2. Blade Runner 2049
3. Shape of Water
4. Darkest Hour
5. Call Me By Your Name
Original Score
1. Dunkirk
2. Shape of Water
3. Phantom Thread
4. Blade Runner 2049
5. Beauty and the Beast
Edited in my choices
By Mariosalic Go To Postlmao @ WW getting a nom.
there's no reality where that should happen.
I agree. And yet...
nononono.
the oscars do have a tendency to overcorrect past mistakes (at least for the next year or two and then they forget again). it could happen but i really hope not.
the oscars do have a tendency to overcorrect past mistakes (at least for the next year or two and then they forget again). it could happen but i really hope not.
By Hitch Go To PostJust watched Inside Out for the first time
That film is absolutely brilliant.
My favourite Pixar film.
By Hitch Go To PostNopewhat the fuck
The Incredibles is a pile of shite.
Ratatouille >
Love all three Toy Storys, Monsters Inc, Inside Out. Really like Incredibles and Finding Nemo. Love half of Wall-E. Love 10 mins of Up. Love Kevin Spacey in A Bug’s Life (dont @ me). Fuck Finding Dory.
Love all three Toy Storys, Monsters Inc, Inside Out. Really like Incredibles and Finding Nemo. Love half of Wall-E. Love 10 mins of Up. Love Kevin Spacey in A Bug’s Life (dont @ me). Fuck Finding Dory.
also lol i read this as "just watched Get Out for the first time". point still stands, both are great.
