|
The only thing I really care about is Mystery of Love winning best song and that's because Sufjan Stevens is the best.
|
#
?
Jan 26, 2018 04:07
|
|
|
|
| # ? Apr 23, 2024 16:30 |
|
|
Xealot posted:Get Out probably won't win for anything, save maybe Screenplay, but that's fine because it's also going to be culturally significant for a long time.
|
|
#
?
Jan 26, 2018 04:13
|
|
|
I'm glad Dunkirk kinda fell out of the running as the year went on because I thought it was just ok.
|
|
#
?
Jan 26, 2018 04:26
|
|
|
muscles like this! posted:The only thing I really care about is Mystery of Love winning best song and that's because Sufjan Stevens is the best. I hope he performs, he's a really great live performer and I want to see what he wears. Jonny Greenwood winning as well would be aces
|
|
#
?
Jan 26, 2018 05:16
|
|
|
Timeless Appeal posted:Logan is great performances and great ending wrapped in a pretty middling movie. And as someone who is basically obsessed with racial politics in this country, both classical and contemporary (and where those overlap), I think Get Out's delivery is pretty much toothless. If you want an indictment of the racial dynamics of contemporary America and how they perpetuate and feed off the sins of the past then I'd say watch I Am Not Your Negro. Or read The New Jim Crow and then watch 13th.
|
|
#
?
Jan 26, 2018 05:26
|
|
|
Get Out's greatest strength was turning that paranoia of 'Do I call out that racist statement?' into the answer to 'why don't they just turn back?' that every horror movie has.
|
|
#
?
Jan 26, 2018 10:50
|
|
|
BeanpolePeckerwood posted:And as someone who is basically obsessed with racial politics in this country, both classical and contemporary (and where those overlap), I think Get Out's delivery is pretty much toothless. If you want an indictment of the racial dynamics of contemporary America and how they perpetuate and feed off the sins of the past then I'd say watch I Am Not Your Negro.
|
|
#
?
Jan 26, 2018 12:38
|
|
|
I think it’s probably goes without saying that a popcorn horror movie is not necessarily going to be as incisive politically as a documentary about James Baldwin Get Out is still the best movie of the year and should win in all categories (except maybe screenplay which I’d give to Three Billboards because I’m a bad person)
|
|
#
?
Jan 26, 2018 13:43
|
|
|
there's one big thing about the reaction to Get Out that kind of surprises me, honestly. everyone's claiming it's about oblivious white liberals, when... I really didn't see it, and instead saw that it's about actively malicious white right-wingers who put on the barest possible "liberal" face to try and give their prey a false sense of security. i have never in my life met a white liberal who acts like any of the family members from the movie (even discounting the literal sci-fi twist and just addressing its metaphorical implications), whereas i've met a-loving-plenty of bougie teabagger fucks who act like that. like, honestly, if it weren't for the added meaning provided by the twist and the obvious insincerity of the moment, the dad's Obama comment would unironically be the most unrealistic part of the movie, because nobody who acts like that voted for Obama once. also, they're not oblivious, they're literally conspiring to trap a black guy in his own body so they can steal it, and have done this to countless other black people; the type of poo poo i'm used to seeing from lovely white liberals is, like, thinking the N-word is okay if they end it in "a" instead of "er", or thinking weed legalization is the be-all, end-all of saving black people from the cops, not literal loving murder and body theft. I dunno, maybe it's just the fact that I live in Texas and the types of people who remind me of the family in the movie just have whatever politics are trendy where they live (meaning they're all the nastiest loving borderline-Nazis possible here and are probably lukewarmly center-left in LA), but still. (also: it's unironically become a conspiracy theory that rich white people steal POC's bodies and put their own brains in them because of Get Out, which is unbelievably hilarious to me because how badly can you possibly miss the metaphor)
|
|
#
?
Jan 26, 2018 21:11
|
|
|
LORD OF BOOTY posted:there's one big thing about the reaction to Get Out that kind of surprises me, honestly. these are basically the same people.
|
|
#
?
Jan 26, 2018 21:30
|
|
|
Timeless Appeal posted:I guess I just don't know what your actual read of the film is. I do think a lot of people got caught up in the message being "Liberals can be racist too" which I think missed the point in an interesting way because that casts the movie to be about white people. But Get Out's strength is that it's not an indictment of whites, it's an expression of the black experience in America. The sunken place scene in particular, especially treated in a vacuum where the mother is not yet to be revealed as a literal monster, names racism in terms of not meanness and cruelty--although those can be part of racism, and are represented by the brother--but as stripping humans of their agency. And besides for just being an incredibly striking moment, I think the representation of the sunken place is such a horrifying representation of what that actually means. The Sunken Place is a brainwash metaphor for disenfranchisement, I feel ya. Except I just don't find the metaphor as compelling or important as a discussion of actual laws and systems that are used to create a two tiered system of justice and slave labor class ITYOOL 2018. I'm glad it means a lot to you but I think many people are grabbing onto an abstract artistic significance in this film because that's more comfortable than reckoning with the idea of systemic racial inequality. Part of the reason that Get Out seems like such an odd film to champion both as a Best Picture nominee or as a portrait of racial injustice is because so much of the film is locked up in a distracting genre tog-of-war, so if held up next to something like 12 Years a Slave it absolutely suffers in comparison. 12 Years is a film that demonstrates complicity of political structures, religious orders, as well as individuals in the making of systems of dehumanization, it's absolutely horrifying and never pulls a punch or softens its consequences for the audience. I would liken Get Out to a cult classic like They Live! which couches an important moral/political read of ideology inside a shell of camp, that has a moral resonance but is also interested in lowbrow entertainment. People don't just laugh during this film because they're uncomfortable (though that IS an common self-defense response to horror, both staged and authentic)...they laugh because it employs the timing and framing of sketch comedy.
|
|
#
?
Jan 26, 2018 21:44
|
|
|
i mean i don't think Get Out being closer to They Live than 12 Years a Slave is a problem with the movie, i'd say that's a feature not a bug
|
|
#
?
Jan 26, 2018 21:54
|
|
|
Uncle Boogeyman posted:i mean i don't think Get Out being closer to They Live than 12 Years a Slave is a problem with the movie, i'd say that's a feature not a bug I mean, sure, but I was responding to this... Timeless Appeal posted:Get Out is the most concise and digestible statement not just in film but I think in the broader race conversation of how modern racism is inseparable from slavery in a deep and ingrained way. I think the sunken place and everything that surrounds is also just a visceral cinematic moment. ....and I have to disagree, and I've provided my reasons. Anyways, I've fogged up this whole deal, my bad.
|
|
#
?
Jan 26, 2018 22:30
|
|
|
I still maintain that Django Unchained is the greatest film about American racism ever made. Get the gently caress in line, Get Out.  EDIT: I'm also surprised Ridley Scott didn't snag a nom for not only getting rid of Spacey, but for managing to pull off that reshoot in essentially zero time. viral spiral fucked around with this message at 01:57 on Jan 27, 2018 |
|
#
?
Jan 27, 2018 01:26
|
|
|
BeanpolePeckerwood posted:The Sunken Place is a brainwash metaphor for disenfranchisement, I feel ya. Except I just don't find the metaphor as compelling or important as a discussion of actual laws and systems that are used to create a two tiered system of justice and slave labor class ITYOOL 2018. I'm glad it means a lot to you but I think many people are grabbing onto an abstract artistic significance in this film because that's more comfortable than reckoning with the idea of systemic racial inequality. This is to say, it's okay if the movie didn't speak to you in the same way or that we don't have the same read. But I'm not particularly a fan of how you're writing off people who engaged with the movie and felt it to be important as just not knowing enough about racism. Timeless Appeal fucked around with this message at 04:18 on Jan 27, 2018 |
|
#
?
Jan 27, 2018 02:59
|
|
|
Timeless Appeal posted:I just haven't seen a movie label racism so concisely as the disregard of black minds in favor of controlling black bodies and create such a stark visual representation of that notion. This, exactly, word for word. It's an effective visual metaphor because of the absolute disempowerment, the absolute sublimation of black suffering and of black thought in general that it suggests. The horror isn't just because the suffering is happening, but because it's invisible and unimportant. In lesser hands, Get Out would just be Deliverance or something...a black guy meets his white girlfriend's family and they're violent racists or whatever. What's important about the movie is that they aren't "racists" in the way people tend to mean that. They aren't separatists, they don't "hate" black people. They just feel an absolutely entitled sense of ownership over black bodies, and a total disregard for anything else that defines blackness or the black experience. They "love" black people, the way they love corgis or dim sum. It's fetishistic and dehumanizing, and speaks to the totally unspoken power imbalance that is just as true today as it was a century ago. The ending really crystalized this for me, because when the flashing lights appeared, I was 100% convinced that Chris was dead. Despite what we know about what he went through and what this family was doing, I didn't question for a second that the police were there to serve the Armitages and not him. Obviously, that's not what happened, but I think that moment was intended to evoke this guttural, nihilistic sense of "oh, gently caress, no!"
|
|
#
?
Jan 27, 2018 03:19
|
|
|
Timeless Appeal posted:I guess let me pull back the curtain on my own self for a moment. I'm a middle school teacher who works almost exclusively with black and brown children in Brooklyn. A lot of my career has been seeing an educational landscape that is built on compliance, built on being more concerned with young men sit still in a chair than stimulating their minds, seeing teachers constantly confuse actions that have a lot to with being eleven with being black, and stuff like that. And I'll be honest man, I've seen a lot of teachers who feel sad about the school to prison pipeline only to turn around and treat a mildly annoyed parent like an unreasonable thug. For me when I watched the sunken place scene, it was really cathartic and overwhelming because it spoke to a frustration I had been having for quite some time. I just haven't seen a movie label racism so concisely as the disregard of black minds in favor of controlling black bodies and create such a stark visual representation of that notion. Really? You don't see the thread of suppression of black culture and possession of black labor in other works about American racist subjugation? Because it's everywhere, my goon. Not to mention every 'Tough On Crime' law ever passed under the supervision of liberal politicians. https://www.youtube.com/watch?v=cdJv7rohcoA https://www.youtube.com/watch?v=5ogdgddvqG4 https://www.youtube.com/watch?v=Z71zi0XOgk8 https://www.youtube.com/watch?v=Ze1OxgS8e2A https://www.youtube.com/watch?v=SJCe9vOdk8U&t=215s I mean, that's fine. As I said already I'm glad people got a lot out of the movie, I just don't think it's doing the legwork some assert it is in the grand scheme. I don't feel I'm writing people off when I say that if Get Out is the most important comment on American racism in our time, as is being suggested by some, then the current racial conversation is somewhat incoherent. Xealot posted:This, exactly, word for word. It's an effective visual metaphor because of the absolute disempowerment, the absolute sublimation of black suffering and of black thought in general that it suggests. The horror isn't just because the suffering is happening, but because it's invisible and unimportant. Having both read and watched Deliverance I think you're employing it here in a really awkward way.
|
|
#
?
Jan 27, 2018 04:31
|
|
|
Xealot posted:This, exactly, word for word. It's an effective visual metaphor because of the absolute disempowerment, the absolute sublimation of black suffering and of black thought in general that it suggests. The horror isn't just because the suffering is happening, but because it's invisible and unimportant. This is really well written, and I'd like to echo the feelings about the ending. Usually, the police arriving signals the survivors' salvation, but in this, there is no escape, because the family's estate and attitude is just an extension of society's.
|
|
#
?
Jan 27, 2018 05:09
|
|
|
BeanpolePeckerwood posted:Having both read and watched Deliverance I think you're employing it here in a really awkward way. You’re right, I’m referencing it superficially. I just mean, Get Out could’ve been any number of horror/thriller narratives in which a guy from the city goes to the country and encounters monstrously violent locals who dehumanize him. Some kind of “squeal like a pig, boy!” moment, but with a racist dimension. Instead, the villains who torment him aren’t drooling yokels, they’re refined and even liberal gentry. It’s not low-hanging fruit...the social critique Peele presents isn’t safe or inconsequential when it easily could’ve been, and I respect the hell out of it.
|
|
#
?
Jan 27, 2018 07:49
|
|
|
Xealot posted:You’re right, I’m referencing it superficially. I just mean, Get Out could’ve been any number of horror/thriller narratives in which a guy from the city goes to the country and encounters monstrously violent locals who dehumanize him. Some kind of “squeal like a pig, boy!” moment, but with a racist dimension. Yeah, I get what you're saying. And even though they're about different things there is a thread of commonality with the way the sheriff of Aintry in Deliverance shows up in the end and becomes a sort of antagonist arbiter of the situation, an impediment for the boat crew as they try to keep their secrets buried. I do remember thinking at the end of Get Out that the cops showing up was a sign of bad things to come...
|
|
#
?
Jan 27, 2018 09:27
|
|
|
BeanpolePeckerwood posted:Really? You don't see the thread of suppression of black culture and possession of black labor in other works about American racist subjugation? Because it's everywhere, my goon. Not to mention every 'Tough On Crime' law ever passed under the supervision of liberal politicians. I get we're on the same page with things, but when you show the 12 Years a Slave clip or the Donald Trump clip from The 13th, I think there a lot of people who view those moments in terms of violence and cruelty and hatred, which are present and valid, but are not seeing this greater underlying evil that connects all racism. What I'm celebrating about Get Out and specifically the Sunken Place scene is that it's a sort of stripped down definition of what racism is told visually To be clear though, when I say you're writing people off, I mean specifically... quote:I'm glad it means a lot to you but I think many people are grabbing onto an abstract artistic significance in this film because that's more comfortable than reckoning with the idea of systemic racial inequality. I think a debate around discussing a very real issue of racism in terms of an abstract genre film versus a hard factual exploration of our culture and our history is a valid debate, and I'm mostly enjoying this back and forth. But yeah man, I think you are kind of writing people off who think Get Out is important in an unfair way.
|
|
#
?
Jan 27, 2018 13:42
|
|
|
I hope Ladybird wins.
|
|
#
?
Jan 27, 2018 15:00
|
|
|
My dad asked me if Zookeeper's Wife got nominated for anything. Did it get snubbed, or did it come out last Oscar cycle?
|
|
#
?
Jan 27, 2018 17:52
|
|
|
LadyPictureShow posted:My dad asked me if Zookeeper's Wife got nominated for anything. Did it get snubbed, or did it come out last Oscar cycle?
|
|
#
?
Jan 27, 2018 17:58
|
|
|
It really sounds like the title from a movie on Seinfeld.
|
|
#
?
Jan 27, 2018 18:23
|
|
|
Timeless Appeal posted:There is a question I ask when I teach slavery in US History that a lot of people struggle to answer: Would slavery be wrong if the masters weren't cruel, were incredibly kind, gave their slaves fine clothes, let them have families, and didn't do any of the awful stuff we associate with slavery? Some students waiver, most say it still won't be okay. Then I ask, why would it still not be okay? And that's the question that's hard to answer. Because it's easy to understand why separating families, whipping, and rape are wrong. The stealing of someone's labor, the mechanization of one's body, and stripping of one's autonomy, no matter in how gentile a fashion, being a fundamental evil are much more nuanced things to understand. I feel ya, and appreciate your thoughtful posts.
|
|
#
?
Jan 27, 2018 21:36
|
|
|
I'm making a concerted effort to actually see all 9 best picture noms (thanks moviepass), and of the 5 I've gotten through so far....I still don't understand why The Post is in contention. It was fine. It was ok. I legit don't get why the academy is falling over it.
|
|
#
?
Jan 28, 2018 01:33
|
|
|
jivjov posted:I'm making a concerted effort to actually see all 9 best picture noms (thanks moviepass), and of the 5 I've gotten through so far....I still don't understand why The Post is in contention. It was fine. It was ok. I legit don't get why the academy is falling over it. “In the age of Trump...”
|
|
#
?
Jan 28, 2018 01:35
|
|
|
Woof Blitzer posted:I hope Ladybird wins. hi greta
|
|
#
?
Jan 28, 2018 06:31
|
|
|
jivjov posted:I'm making a concerted effort to actually see all 9 best picture noms (thanks moviepass), and of the 5 I've gotten through so far....I still don't understand why The Post is in contention. It was fine. It was ok. I legit don't get why the academy is falling over it. Because, "issues" It's a boilerplate film about a hotbutton topic.
|
|
#
?
Jan 28, 2018 09:11
|
|
|
I think just Meryl Streep being in it is a big thing for the Academy people too.
|
|
#
?
Jan 28, 2018 09:13
|
|
|
Raxivace posted:I think just Meryl Streep being in it is a big thing for the Academy people too. Streep being nominated instead of Vicky Krieps is a loving crime against humanity.
|
|
#
?
Jan 28, 2018 09:21
|
|
|
R. Guyovich posted:hi greta Over my head bro
|
|
#
?
Jan 28, 2018 11:50
|
|
|
Raxivace posted:I think just Meryl Streep being in it is a big thing for the Academy people too. Heh, is she just too big a name to "only" get a Best Actress nod?
|
|
#
?
Jan 28, 2018 12:11
|
|
|
BeanpolePeckerwood posted:Streep being nominated instead of Vicky Krieps is a loving crime against humanity. SHE WHAT
|
|
#
?
Jan 28, 2018 16:25
|
|
|
jivjov posted:Heh, is she just too big a name to "only" get a Best Actress nod?
|
|
#
?
Jan 28, 2018 16:27
|
|
|
To its benefit, I think there is a lot to celebrate about The Post beyond it centering around a hot topic issue. It's well acted and tightly scripted. From the point of them getting the documents on, it's a pretty thrilling film. In a weaker year, I could see it getting a nom for Hanks or Odenkirk as well. It's middling Spielberg which always brings a level of craftmanship even when it's not spectacular. I think to the Oscars' credit, there has been some Oscar bait stuff like Battle of the Sexes and I, Tonya that definitely did come with some Oscar hopes and I think back in the past would have been validated over Get Out or Ladybird. There's definitely still stuff to complain about with the Oscars--Look at the dismal animated category--but I also think it feels a little silly to complain about a well-made yet boring movie sliding in when the front runner is Creature from the Black Lagoon erotic fan fiction.
|
|
#
?
Jan 28, 2018 17:09
|
|
|
Timeless Appeal posted:To its benefit, I think there is a lot to celebrate about The Post beyond it centering around a hot topic issue. It's well acted and tightly scripted. From the point of them getting the documents on, it's a pretty thrilling film. In a weaker year, I could see it getting a nom for Hanks or Odenkirk as well. It's middling Spielberg which always brings a level of craftmanship even when it's not spectacular. I think to the Oscars' credit, there has been some Oscar bait stuff like Battle of the Sexes and I, Tonya that definitely did come with some Oscar hopes and I think back in the past would have been validated over Get Out or Ladybird. I refuse to grant the term 'well-made' to a film bookended by a lovely opening and ending. At least the Creature from the Black Lagoon erotic fan fiction has bathtub masturbation to an egg timer, which is novel enough when written out...
|
|
#
?
Jan 28, 2018 17:31
|
|
|
The Post felt like two movies stapled together. The first half was a neat historical look into the Pentagon Papers incident, and the second was a solid drama surrounding the employees of the Post...but those halves felt inexpertly welded together to me
|
|
#
?
Jan 28, 2018 17:33
|
|
|
|
| # ? Apr 23, 2024 16:30 |
|
|
It felt like it was significantly reworked over 6 months from a different idea. In my imagination it was originally called "The Papers"
|
|
#
?
Jan 28, 2018 17:43
|
|