|
Skeesix posted:Because I don't know of any Hollywood-caliber trans women. Huh, how weird. It's almost as if they're a horribly underrepresented demographic in mainstream film? Whodathunkit? LORD OF BUTT posted:The latter two were in Tangerine, which is fantastic. For real. They gave the performances of a lifetime and Oscar voters decided they needed to nominate Eddie loving Redmayne in drag. And you can bet they're gonna jerk themselves off now about how progressive they are.
|
#
¿
Jan 16, 2016 18:25
|
|
|
|
| # ¿ Apr 27, 2024 14:30 |
|
|
MorgaineDax posted:How many trans actresses are both pre-surgery and pre-HRT therapy? Rag on The Danish Girl all you want, because it's not a great movie, and Redmayne isn't particularly great in it, but it makes little sense to cast a trans woman in the role, when it takes place before surgery and hormone therapy was a thing. He does full-frontal scenes in the movie. Even Laverne Cox's character pre-transition in OITNB was played by her cis male brother. It would make more sense and be more interesting had Gerda been played by a trans actress instead. It's less that and it's more that there is phenomenal work being done by actual trans artists that is being consistently ignored by mainstream outlets in favor of heaping praise on Jared Leto and Eddie Redmayne for being so "brave" to play these roles that many trans writers have repeatedly criticized. It's honestly kind of jarring when you look at the diversity of Emmy nominees versus the consistently tone deaf Oscar and Golden Globes. edit: Basically, we're all mad that the most boring, establishment people have chosen to award the most boring, establishment films.
|
|
#
¿
Jan 16, 2016 20:19
|
|
|
OneThousandMonkeys posted:Argo was competent but an outrageous choice for Best Picture and maybe even as a nominee. Birdman was technically masterful but for the most part dull as dishwater. The Academy loves movies that allow it to feel self-important. Argo winning for it's Hollywood saves the day narrative is so pathetically transparent too. It's a very good movie, I enjoyed it, but it is not better than Zero Dark Thirty or Beasts of the Southern Wild or Amour or Lincoln or even Django Unchained. 2012 may actually be the strongest single years of the decade so far and Argo taking it home is like Oliver winning in 1968. I just saw The Big Short last night and it was excellent. I'm now at 5/8 Best Picture noms and it's a very firm #2 choice behind Mad Max in terms of what should win. Still need to watch Room, Bridge of Spies and The Martian.
|
|
#
¿
Jan 21, 2016 17:04
|
|
|
People saying American Beauty was edgy or damning about suburbia might be forgetting that Blue Velvet was made in 1986. For that matter, All That Heaven Allows was made in 1955.
|
|
#
¿
Jan 21, 2016 20:06
|
|
|
OneThousandMonkeys posted:Haven't seen All That Heaven Allows, but Blue Velvet is VERY DIFFERENT from American Beauty. Blue Velvet is an acidic movie on acid. Lynch was nominated for Best Director for it. Also, Todd Solondz made Happiness in '98 and Welcome to the Dollhouse in '95. Just sayin' that films going straight for suburbia's jugular were nothing new by the time American Beauty came around. edit: The disaffected office worker was also a huge theme around that time. In 1999 alone you had American Beauty, Office Space, Fight Club, Being John Malkovich, even The Matrix arguably. TrixRabbi fucked around with this message at 20:20 on Jan 21, 2016 |
|
#
¿
Jan 21, 2016 20:16
|
|
|
|
| # ¿ Apr 27, 2024 14:30 |
|
|
I caught Room this afternoon and I'm now up to 7/8 with only The Martian left to go. Plus I still need to see some of the other heavy hitters like Carol, Creed and Steve Jobs (which incidentally is the name of my family folk band). Might try to catch up on the documentaries too since they're mostly available on Netflix. Room is fantastic and I'd be very happy if it walked away with some awards, but I feel like it's gotten this reputation around Hollywood for being "hard to watch" which is bullshit because while it's incredibly tragic and emotional, it's not grueling. So a lot of academy voters will wind up skipping it. I still see Spotlight as the frontrunner even though it's maybe my 4th pick at this point. Might even drop to 5th after The Martian. But I'd be very happy with either Mad Max, Room or The Big Short taking it. I agree that The Big Short is very erratic and the editing feels more unweildly than precise (who's great idea was it to put songs like Sweet Child o Mine and Lithium - with lyrics - underneath critical and complex banking information? My ears can't listen to both, McKay) but it's content is fantastic and I think it captures that anger rightly. I'd worry about it holding up not because of the politics but because of the very distinctive 2010s tone. Like, is anyone gonna remember Anthony Bourdain in 30 years? I feel like this type of smarmy "here's Selena Gomez" humor may go out of fashion sooner or later, which is what will date it the most.
|
|
#
¿
Jan 30, 2016 00:42
|
|