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 I love Award Season. I think the Oscars are some corny poo poo that lasts too long. Hate the Golden Globes. I find the Independent Spirit Awards charming, I suppose... but I loving love the season itself. The Academy Award Nominees in particular provide a quick list for a bunch of movies to get caught up on even if it's always incomplete. For the last five years or so, a friend of mine and I compare notes as we try to watch as many of the nominees as possible. I usually get a head start on it in November, casting a wide net of what could be nominated. Often I end up watching some gems that never quite make it. Hell, my two favorite movies this year have no chance. (Portrait of a Lady on Fire is technically 2019 and there's little love for I'm Thinking of Ending Things). I love going with my wife to the IFC Center or BAM to see their twee little introductions. I adore watching the Shorts Collections. I live for this poo poo. I absolutely miss MoviePass and going to the movies every single day, trying to see all the International nominees. I think it's also an interesting experience. At the end of every year, you start seeing the lists of the year's best films come out, but it's often a bit of an odd experience because you can't actually see many of those movies. Many Award Season films end up with limited releases that even coastal elites like myself can't end up seeing them. This ends up especially true for International and Documentary. I can never really have a true personal best of life until February when I've actually seen all of the poo poo. This year has definitely been a strange year as Covid-19 has meant less movie going experiences. I watched the little IFC Center opening the other day out of pure emptiness of going to a theater. What is this thread for? This thread is a sort of catchall for not just talking about the awards for 2020 films, but more broadly talking about some of the greatest films of 2020. Award Shows are a bit of a tricky thing. The Oscars are incredibly problematic as we'll explore in a bit, and the Globes border on being a straight up joke. Still, sometimes a movie like Parasite that people in the Horror thread were literally begging people to see for a wider release catches fire. And even outside the stuff that gets nominated, it can be fun to discuss the gems that got lost in the shuffle. In short, award shows are really more of a platform to discuss some of the best movies of the previous year. Especially when it comes to shorts, International films, and documentaries it can also mean exploring movies people wouldn't otherwise see. I'd say this thread in general should be: -- Inside baseball predictions of what is going to get nominated/win -- Inside baseball predictions of who is going to be left out of the in memoriams -- Just a place to discuss some of the best movies from 2020 -- Discussing what you want to win or be nominated -- Critiques of the awards and organizations themselves -- TVIV style posting during the actual awards. What is this thread not for? I'd like to ask the following stuff to be avoided: Shallow Critiques of the Awards-- There is a ton of poo poo to critique, but please be specific and meaningful. We all know that the show is a Hollywood fellating itself. Unless you want to take aim at a specific element of course go ahead. I just feel like too much "The Oscars are poo poo" can bog things down Smugly denouncing the possibility of something winning-- Everybody knows that there is nothing that makes Nomadland scientifically better or worse than Judas and the Black Messiah. Getting in a hissy fit because First Cow doesn't get nominated or ranting because Tom Hanks beats Riz Ahmed is the right of all film nerds. It's all fruitless and silly, And this is a safe space for all that poo poo. But smugly going, "It's not like THAT was ever going to win" is silly when Parasite exists my dude. Just let people nerd out. Also, just let stuff shine here that doesn't get a place to shine elsewhere. I think there are legit arguments for Birds of Prey and Possessor to be part of discussion when we talk about best pictures from last year, but those films have homes to shine. Often the sort of cinema we'll be discussing isn't really able to sustain a thread of its own. So, a half page derail about Driveways would be nice to let happen. I'm obviously not a mod though so these are just kind suggestions... So, let’s talk about some of the awards we have coming up…
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Feb 27, 2021 16:46
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 The 78th Golden Globes aka You Got Your Emmys in my Academy Awards When: February 28th 8 PM/ET What channel? NBC Who’s hosting? Tina Fey and Amy Pohler And the nominees are… Best Motion Picture -- Musical or Comedy "Borat Subsequent Moviefilm" "Hamilton" "Music" "Palm Springs" "The Prom" Best Motion Picture -- Drama "The Father" "Mank" "Nomadland" "Promising Young Woman" "The Trial of the Chicago 7" Best Motion Picture -- Foreign Language "Another Round," Denmark "La Llorona," Guatamala/France "The Life Ahead," Italy "Minari," USA "Two of Us," France/USA Best Screenplay -- Motion Picture Emerald Fennell - "Promising Young Woman" Jack Fincher - "Mank" Aaron Sorkin - "The Trial of the Chicago 7" Florian Zeller, Christopher Hampton - "The Father" Chloe Zhao - "Nomadland" Best Original Song -- Motion Picture "Fight for You" - "Judas and the Black Messiah" "Hear My Voice" - "The Trial of the Chicago 7" "IO SI (Seen)" - "The Life Ahead" "Speak Now" - "One Night in Miami" "Tigers & Tweed" - "The United States vs. Billie Holiday" Best Actor in a Supporting Role in Any Motion Picture Sacha Baron Cohen - "The Trial of the Chicago 7" Daniel Kaluuya - "Judas and the Black Messiah" Jared Leto - "The Little Things" Bill Murray - "On the Rocks" Leslie Odom, Jr. - "One Night in Miami" Best Actress in a Supporting Role in Any Motion Picture Glenn Close - "Hillbilly Elegy" Olivia Colman - "The Father" Jodie Foster - "The Mauritanian" Amanda Seyfried - "Mank" Helena Zengel - "News of the World" Best Actor in a Motion Picture -- Musical or Comedy Sacha Baron Cohen - "Borat Subsequent Moviefilm" James Corden - "The Prom" Lin-Manuel Miranda - "Hamilton" Dev Patel - "The Personal History of David Copperfield" Andy Samberg - "Palm Springs" Best Motion Picture -- Animated "The Croods: A New Age" "Onward" "Over the Moon" "Soul" "Wolfwalkers" Best Actor in a Motion Picture -- Drama Chadwick Boseman, - "Ma Rainey's Black Bottom" Riz Ahmed - "The Sound of Metal" Anthony Hopkins - "The Father" Gary Oldman - "Mank" Tahar Rahim - "The Mauritanian" Best Actress in a Motion Picture -- Drama Viola Davis - "Ma Rainey's Black Bottom" Andra Day - "The United States vs. Billie Holiday" Vanessa Kirby - "Pieces of a Woman" Frances McDormand - "Nomadland" Carey Mulligan - "Promising Young Woman [/b]Best Actress in a Motion Picture -- Musical or Comedy[/b] Maria Bakalova - "Borat Subsequent Moviefilm" Kate Hudson - "Music" Michelle Pfeiffer - "French Exit" Rosamund Pike - "I Care A Lot" Anya Taylor-Joy - "Emma" Best Actor in a Motion Picture -- Musical or Comedy Sacha Baron Cohen - "Borat Subsequent Moviefilm" James Corden - "The Prom" Lin-Manuel Miranda - "Hamilton" Dev Patel - "The Personal History of David Copperfield" Andy Samberg - "Palm Springs" Best Director -- Motion Picture David Fincher - "Mank" Regina King - "One Night in Miami" Aaron Sorkin - "The Trial of the Chicago 7" Chloe Zhao - "Nomadland" Emerald Fennell - "Promising Young Woman" Best Original Score "The Midnight Sky" "Tenet" "News of the World" "Mank" What should I be mad about? -- Minari might end up being a lock for Best Picture at the Oscars, but a story that takes place in the United States that is about very American things is a Foreign Language film because it well, features a language other than English prominently. Honestly, there is room to debate if we should still have International/Foreign entries and how they should be treated. This is a clear example of the letter of the law not matching the spirit. -- Music sort of highlights the broader issue of segregating Comedies and Musicals into their weird ghetto. It’s often led to issues in which movies that are dramas slide in there to scrape up an easy award, and often the pickings of truly great movies are slim. This year ended up with two recorded versions of live stage performances. On top of just not being all that great Music has a lot of controversy around Sia not casting a neurologically atypical person. Honestly, it’s a criticism that was a bit of a softball to acknowledge and move on, but that’s ugh… not what happened with Sia. -- Speaking of scraping the bottom of the barrel for the nonsensical Comedy/Musical Category, The Prom got middling reviews at best with James Corden picking up a nomination while some other queer performances were ignored. Corden is also a corny rear end straight dude and is being extra critiqued for his role perpetuating stereotypes. But also along with Music, American Utopia, and Hamilton, you don’t need to prove that it’s not stupid to have a Musical Category, Golden Globes. There were other funny movies to nominate. You didn’t need to nominate loving The Prom. -- Tina Fey had a bit of a low-grade reckoning as a lot of her past work was re-evaluated as being racist and then she was literally in a movie where she voiced a Black character. Like I enjoyed Soul, but the idea of a white person embodying a Black person’s body was literally the metaphor Get Out used for racism itself. Timeless Appeal fucked around with this message at 17:02 on Feb 27, 2021 |
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Feb 27, 2021 16:46
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 The 36th Annual Independent Spirit Awards aka The Aubrey Plaza Memorial Ceremony When: April 22nd, 8 PM/ET What channel? IFC Who’s hosting? Melissa Villaseñor And the nominees are… BEST FEATURE… (Award given to the producer) FIRST COW Producers: Neil Kopp, Vincent Savino, Anish Savjani MA RAINEY’S BLACK BOTTOM Producers: Todd Black, Denzel Washington, Dany Wolf MINARI Producers: Dede Gardner, Jeremy Kleiner, Christina Oh NEVER RARELY SOMETIMES ALWAYS Producers: Sara Murphy, Adele Romanski NOMADLAND Producers: Mollye Asher, Dan Janvey, Frances McDormand, Peter Spears, Chloé Zhao BEST FIRST FEATURE (Award given to director and producer) I CARRY YOU WITH ME Director/Producer: Heidi Ewing Producers: Edher Campos, Mynette Louie, Gabriela Maire THE FORTY-YEAR-OLD VERSION Director/Producer: Radha Blank Producers: Inuka Bacote-Capiga, Jordan Fudge, Rishi Rajani, Jennifer Semler, Lena Waithe MISS JUNETEENTH Director: Channing Godfrey Peoples Producers: Toby Halbrooks, Tim Headington, Jeanie Igoe, James M. Johnston, Theresa Steele Page, Neil Creque Williams NINE DAYS Director: Edson Oda Producers: Jason Michael Berman, Mette-Marie Kongsved, Matthew Lindner, Laura Tunstall, Datari Turner SOUND OF METAL Director: Darius Marder Producers: Bill Benz, Kathy Benz, Bert Hamelinck, Sacha Ben Harroche BEST DIRECTOR Lee Isaac Chung, Minari Emerald Fennell, Promising Young Woman Eliza Hittman, Never Rarely Sometimes Always Kelly Reichardt, First Cow Chloé Zhao, Nomadland BEST SCREENPLAY Lee Isaac Chung, Minari Emerald Fennell, Promising Young Woman Eliza Hittman, Never Rarely Sometimes Always Mike Makowsky, Bad Education Alice Wu, The Half of It BEST FIRST SCREENPLAY Kitty Green, The Assistant Noah Hutton, Lapsis Channing Godfrey Peoples, Miss Juneteenth Andy Siara, Palm Springs James Sweeney, Straight Up JOHN CASSAVETES AWARD (Given to the best feature made for under $500,000; Award given to the writer, director and producer) THE KILLING OF TWO LOVERS Writer/Director/Producer: Robert Machoian Producers: Scott Christopherson, Clayne Crawford LA LEYENDA NEGRA Writer/Director: Patricia Vidal Delgado Producers: Alicia Herder, Marcel Perez LINGUA FRANCA Writer/Director/Producer: Isabel Sandoval Producers: Darlene Catly Malimas, Jhett Tolentino, Carlo Velayo RESIDUE Writer/Director: Merawi Gerima SAINT FRANCES Director/Producer: Alex Thompson Writer: Kelly O’Sullivan Producers: James Choi, Pierce Cravens, Ian Keiser, Eddie Linker, Raphael Nash, Roger Welp BEST MALE LEAD Riz Ahmed, Sound of Metal Chadwick Boseman, Ma Rainey’s Black Bottom Adarsh Gourav, The White Tiger Rob Morgan, Bull Steven Yeun, Minari BEST FEMALE LEAD Nicole Beharie, Miss Juneteenth Viola Davis, Ma Rainey’s Black Bottom Sidney Flanigan, Never Rarely Sometimes Always Julia Garner, The Assistant Frances McDormand, Nomadland Carey Mulligan, Promising Young Woman BEST SUPPORTING MALE Colman Domingo, Ma Rainey’s Black Bottom Orion Lee, First Cow Paul Raci, Sound of Metal Glynn Turman, Ma Rainey’s Black Bottom Benedict Wong, Nine Days BEST SUPPORTING FEMALE Alexis Chikaeze, Miss Juneteenth Yeri Han, Minari Valerie Mahaffey, French Exit Talia Ryder, Never Rarely Sometimes Always Yuh-jung Youn, Minari BEST CINEMATOGRAPHY Jay Keitel, She Dies Tomorrow Shabier Kirchner, Bull Michael Latham, The Assistant Hélène Louvart, Never Rarely Sometimes Always Joshua James Richards, Nomadland BEST EDITING Andy Canny, The Invisible Man Scott Cummings, Never Rarely Sometimes Always Merawi Gerima, Residue Enat Sidi, I Carry You With Me Chloé Zhao, Nomadland BEST INTERNATIONAL FILM (Award given to the director) BACURAU (Brazil) Director: Juliano Dornelles, Kleber Mendonça Filho THE DISCIPLE (India) Director: Chaitanya Tamahane NIGHT OF THE KINGS (Ivory Coast) Director: Philippe Lacôte PREPARATIONS TO BE TOGETHER FOR AN UNKNOWN PERIOD OF TIME (Hungary) Director: Lili Horvát QUO VADIS, AIDA? (Bosnia and Herzegovina) Director: Jasmila Žbanić BEST DOCUMENTARY (Award given to the director and producer) COLLECTIVE Director/Producer: Alexander Nanau Producers: Hanka Kastelicová, Bernard Michaux, Bianca Oana CRIP CAMP Directors/Producers: Jim LeBrecht, Nicole Newnham Producer: Sara Bolder DICK JOHNSON IS DEAD Director/Producer: Kirsten Johnson Producers: Katy Chevigny, Marilyn Ness THE MOLE AGENT Director: Maite Alberdi Producer: Marcela Santibáñez TIME Director/Producer: Garrett Bradley Producers: Lauren Domino, Kellen Quinn ROBERT ALTMAN AWARD (Given to one film’s director, casting director and ensemble cast) ONE NIGHT IN MIAMI Director: Regina King Casting Directors: Kimberly R. Hardin Ensemble Cast: Kingsley Ben-Adir, Eli Goree, Aldis Hodge, Leslie Odom Jr. PRODUCERS AWARD (The Producers Award honors emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity and vision required to produce quality independent films) Lucas Joaquin Gerry Kim Kara Durrett SOMEONE TO WATCH AWARD (The Someone to Watch Award recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition) DAVID MIDELL Director of The Killing of Kenneth Chamberlain EKWA MSANGI Director of Farewell Amor ANNIE SILVERSTEIN Director of Bull TRUER THAN FICTION AWARD (The 26th Truer Than Fiction Award is presented to an emerging director of non-fiction features who has not yet received significant recognition) CECILIA ALDARONDO Director of Landfall ELEGANCE BRATTON Director of Pier Kids ELIZABETH LO Director of Stray What should I be mad about? --Aubrey Plaza isn’t hosting anymore? Honestly, the Spirit Awards are fantastic and have great categories. There are still blindspots like speaking of Plaza, how come no love to Black Bear? The Oscars is like Monopoly and the Spirit Awards are like a cool modern board game that actually cares about balance. Timeless Appeal fucked around with this message at 16:57 on Feb 27, 2021 |
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Feb 27, 2021 16:47
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 The 93rd Academy Awards aka An Irrelevant Pageant But Also The One That Matters The Most When: April 25th, 8 PM/ET What channel? ABC Who’s hosting? The Combined Inflated Sense of Self Worth of Hollywood itself or I dunno, maybe Colin Jost or somebody. Who the gently caress knows. Been no host for a bit. And the nominees are… Best Picture “The Father” (David Parfitt, Jean-Louis Livi and Philippe Carcassonne, producers) “Judas and the Black Messiah” (Shaka King, Charles D. King and Ryan Coogler, producers) “Mank” (Ceán Chaffin, Eric Roth and Douglas Urbanski, producers) “Minari” (Christina Oh, producer) “Nomadland” (Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé Zhao, producers) “Promising Young Woman” (Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, producers) “Sound of Metal” (Bert Hamelinck and Sacha Ben Harroche, producers) “The Trial of the Chicago 7” (Marc Platt and Stuart Besser, producers) Best Director Thomas Vinterberg (“Another Round”) David Fincher (“Mank”) Lee Isaac Chung (“Minari”) Chloé Zhao (“Nomadland”) Emerald Fennell (“Promising Young Woman”) Best Actor in a Leading Role Riz Ahmed (“Sound of Metal”) Chadwick Boseman (“Ma Rainey’s Black Bottom”) Anthony Hopkins (“The Father”) Gary Oldman (“Mank”) Steven Yeun (“Minari”) Best Actress in a Leading Role Viola Davis (“Ma Rainey’s Black Bottom”) Andra Day (“The United States v. Billie Holiday”) Vanessa Kirby (“Pieces of a Woman”) Frances McDormand (“Nomadland”) Carey Mulligan (“Promising Young Woman”) Best Actor in a Supporting Role Sacha Baron Cohen (“The Trial of the Chicago 7”) Daniel Kaluuya (“Judas and the Black Messiah”) Leslie Odom Jr. (“One Night in Miami”) Paul Raci (“Sound of Metal”) Lakeith Stanfield (“Judas and the Black Messiah”) Best Actress in a Supporting Role Maria Bakalova (‘Borat Subsequent Moviefilm”) Glenn Close (“Hillbilly Elegy”) Olivia Colman (“The Father”) Amanda Seyfried (“Mank”) Yuh-jung Youn (“Minari”) Best Animated Feature Film “Onward” (Pixar) “Over the Moon” (Netflix) “A Shaun the Sheep Movie: Farmageddon” (Netflix) “Soul” (Pixar) “Wolfwalkers” (Apple TV Plus/GKIDS) Best Adapted Screenplay “Borat Subsequent Moviefilm.” Screenplay by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman, Lee Kern; Story by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Nina Pedrad “The Father,” Christopher Hampton and Florian Zeller “Nomadland,” Chloé Zhao “One Night in Miami,” Kemp Powers “The White Tiger,” Ramin Bahrani Best Original Screenplay “Judas and the Black Messiah.” Screenplay by Will Berson, Shaka King; Story by Will Berson, Shaka King, Kenny Lucas, Keith Lucas “Minari,” Lee Isaac Chung “Promising Young Woman,” Emerald Fennell “Sound of Metal.” Screenplay by Darius Marder, Abraham Marder; Story by Darius Marder, Derek Cianfrance “The Trial of the Chicago 7,” Aaron Sorkin Best Original Song “Fight for You,” (“Judas and the Black Messiah”). Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas “Hear My Voice,” (“The Trial of the Chicago 7”). Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite “Húsavík,” (“Eurovision Song Contest”). Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson “Io Si (Seen),” (“The Life Ahead”). Music by Diane Warren; Lyric by Diane Warren and Laura Pausini “Speak Now,” (“One Night in Miami”). Music and Lyric by Leslie Odom, Jr. and Sam Ashworth Best Original Score “Da 5 Bloods,” Terence Blanchard “Mank,” Trent Reznor, Atticus Ross “Minari,” Emile Mosseri “News of the World,” James Newton Howard “Soul,” Trent Reznor, Atticus Ross, Jon Batiste Best Sound “Greyhound,” Warren Shaw, Michael Minkler, Beau Borders and David Wyman “Mank,” Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin “News of the World,” Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett “Soul,” Ren Klyce, Coya Elliott and David Parker “Sound of Metal,” Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh Best Costume Design “Emma,” Alexandra Byrne “Mank,” Trish Summerville “Ma Rainey’s Black Bottom,” Ann Roth “Mulan,” Bina Daigeler “Pinocchio,” Massimo Cantini Parrini Best Animated Short Film “Burrow” (Disney Plus/Pixar) “Genius Loci” (Kazak Productions) “If Anything Happens I Love You” (Netflix) “Opera” (Beasts and Natives Alike) “Yes-People” (CAOZ hf. Hólamói) Best Live-Action Short Film “Feeling Through” “The Letter Room” “The Present” “Two Distant Strangers” “White Eye” Best Cinematography “Judas and the Black Messiah,” Sean Bobbitt “Mank,” Erik Messerschmidt “News of the World,” Dariusz Wolski “Nomadland,” Joshua James Richards “The Trial of the Chicago 7,” Phedon Papamichael Best Documentary Feature “Collective,” Alexander Nanau and Bianca Oana “Crip Camp,” Nicole Newnham, Jim LeBrecht and Sara Bolder “The Mole Agent,” Maite Alberdi and Marcela Santibáñez “My Octopus Teacher,” Pippa Ehrlich, James Reed and Craig Foster “Time,” Garrett Bradley, Lauren Domino and Kellen Quinn Best Documentary Short Subject “Colette,” Anthony Giacchino and Alice Doyard “A Concerto Is a Conversation,” Ben Proudfoot and Kris Bowers “Do Not Split,” Anders Hammer and Charlotte Cook “Hunger Ward,” Skye Fitzgerald and Michael Scheuerman “A Love Song for Latasha,” Sophia Nahli Allison and Janice Duncan Best Film Editing “The Father,” Yorgos Lamprinos “Nomadland,” Chloé Zhao “Promising Young Woman,” Frédéric Thoraval “Sound of Metal,” Mikkel E.G. Nielsen “The Trial of the Chicago 7,” Alan Baumgarten Best International Feature Film “Another Round” (Denmark) “Better Days” (Hong Kong) “Collective” (Romania) “The Man Who Sold His Skin” (Tunisia) “Quo Vadis, Aida?”(Bosnia and Herzegovina) Best Makeup and Hairstyling “Emma,” Marese Langan, Laura Allen, Claudia Stolze “Hillbilly Elegy,” Eryn Krueger Mekash, Patricia Dehaney, Matthew Mungle “Ma Rainey’s Black Bottom,” Sergio Lopez-Rivera, Mia Neal, Jamika Wilson “Mank,” Kimberley Spiteri, Gigi Williams, Colleen LaBaff “Pinocchio,” Mark Coulier, Dalia Colli, Francesco Pegoretti Best Production Design “The Father.” Production Design: Peter Francis; Set Decoration: Cathy Featherstone “Ma Rainey’s Black Bottom.” Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton “Mank.” Production Design: Donald Graham Burt; Set Decoration: Jan Pascale “News of the World.” Production Design: David Crank; Set Decoration: Elizabeth Keenan “Tenet.” Production Design: Nathan Crowley; Set Decoration: Kathy Lucas Best Visual Effects “Love and Monsters,” Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox “The Midnight Sky,” Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins “Mulan,” Sean Faden, Anders Langlands, Seth Maury and Steve Ingram “The One and Only Ivan,” Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez “Tenet,” Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher What should I be mad about? -- The Oscars isn’t just the latest major ceremony, but it’s also nominating the latest as you can see. Because of COVID, they’ve expanded eligibility for films released between Jan. 1, 2020 and Feb. 28, 2021. -- Sound Mixing and Editing are one category now -- It is easier to be eligible despite never being in a theater. The general rule of thumb is if the film was intended to be shown in theaters. We’ll see where we are in a post-Covid rule, but we are getting into the murky “If it feels like a movie movie” waters for what actually counts. -- All Academy members can now vote on Foriegn films -- Best Music has a higher threshold for originality in the score -- There is some debate over if Small Ax will be eligible, but it’s most likely going to go for Emmys. -- You might be familiar with some of the changes the Academy is making to be not as so white. They have opened up their membership and voters in some good ways, more importantly they have new standards that encourage more diverse nominees which should hopefully have a feedback loop and mean more diverse films in general. Unfortunately those standards won’t go into effect for a few years. Timeless Appeal fucked around with this message at 00:39 on Mar 16, 2021 |
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Feb 27, 2021 16:47
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[Reserved if there any other awards people want to explore more deeply]
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Feb 27, 2021 16:47
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Psycho Goreman for best picture
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Feb 27, 2021 17:00
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Mank is the most gorgeous black and white film I’ve ever seen, and it deserves every nomination and win it receives. Fincher never disappoints.
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Feb 27, 2021 20:03
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Mank is undeniably well made and impressive in how well it actually looks like an old movie. But in a lot of ways, It's like a Fincher version of recent Oscar bait. A biopic that somewhat celebrates Hollywood, features modern political parallels, and has Gary Oldman disappear into a role. It's still a weird movie in that it creates a false narrative about the real Conservative Mank while somewhat throwing Wells under the bus despite the fact that he really was the driving creative force for the script and had better politics than real Mank. Once again, it's a fine movie. I'm only going to be mad if Oldman wins. Boseman is a shoe-in, but Ahmed also deserves the award over him.
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Feb 28, 2021 17:24
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Hell yeah award season! To be honest I've been a bit disconnected from it this year. Nomadland has been a lock from the jump and the extended season hasn't helped. On the bright side it's given me more time to actually watch most of the films.
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Feb 28, 2021 17:48
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Shneak posted:Hell yeah award season! To be honest I've been a bit disconnected from it this year. Nomadland has been a lock from the jump and the extended season hasn't helped. On the bright side it's given me more time to actually watch most of the films.
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Feb 28, 2021 20:34
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DanteDevils posted:Mank is the most gorgeous black and white film I’ve ever seen, and it deserves every nomination and win it receives. Fincher never disappoints. Son of the Mank
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Feb 28, 2021 21:33
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BAFTA Nominations are out Razzie Nominations are out Leave Lauren Lapkus alone Oscars in a train station
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Mar 13, 2021 14:06
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Oscar Nominations are out! Really glad the love Sound of Metal is getting. Bummer about Regina King though.
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Mar 15, 2021 17:58
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Very surprised that First Cow was snubbed everywhere outside of the spirit awards. It seemed to have a lot of indie hype. Maybe coming out right before the pandemic went into full swing took everyone's mind off of it.
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Mar 15, 2021 18:22
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Reichardt's style is also just not massively appealing. She'll be remembered as one of the greats and get an honorary Oscar in 30 years but her films are just too challenging for a group of people who just nominated The Trial of the Chicago 7 for Best Picture.
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Mar 15, 2021 18:38
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The First Cow snubs bode poorly for the Snyder Cut's chances at next year's Academy Awards.Timeless Appeal posted:Oscar Nominations are out! I agree, I was very impressed at how King handled a stage adaptation. I'm quite pleased to see Kemp Powers nominated for Screenplay, though. That was the main thing I was checking for.
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Mar 15, 2021 18:44
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Timeless Appeal posted:Oscar Nominations are out! Maybe Fincher receives his long overdue Best Director win?
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Mar 15, 2021 18:45
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I gotta say, only thing that's really bugging me this year is the fact that movies released well into 2021 qualify while stuff that actually came out in 2020 got snubbed. I dunno, the Grammys have this weird timeframe too and it just annoys the hell outta me.
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Mar 15, 2021 18:46
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commielingus posted:Maybe Fincher receives his long overdue Best Director win? No
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Mar 15, 2021 18:52
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The Oscars loves to award movies that are about making movies, so Mank will clean up this year.
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Mar 15, 2021 19:03
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It's Chloe Zhao's to lose. Mank might walk away with some craft awards, perhaps Cinematography (though still Nomadland's the frontrunner) but don't expect any of the major statues to go to Mank. The movie is fine but it's an also ran in this race, this year's The Irishman.
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Mar 15, 2021 20:32
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commielingus posted:Maybe Fincher receives his long overdue Best Director win? He was 100% robbed for The Social Network (which also deserved Best Picture) but I don't think Mank is going to get it for him. Personally I'm rooting for Glenn Close to win both the Oscar and the Razzie for Hillbilly Elegy, a movie I have no interest in watching.
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Mar 15, 2021 20:37
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i'm probably never gonna watch Mank but I do hope some reviewer out there ran with the headline "Mank Stank!"
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Mar 15, 2021 20:39
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lol at the optics on this https://twitter.com/MsBrooke_Lynn/status/1371489283383693314
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Mar 15, 2021 20:40
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ahah what the gently caress is that poo poo. I'm glad I stopped caring about the academy awards years ago.
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Mar 15, 2021 20:52
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Cacator posted:He was 100% robbed for The Social Network (which also deserved Best Picture) but I don't think Mank is going to get it for him. If Fincher deserved a statue for anything it was Zodiac.
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Mar 15, 2021 20:55
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BeanpolePeckerwood posted:If Fincher deserved a statue for anything it was Zodiac. Absolutely, but the Academy in its great wisdom did not deem it worthy of a single nomination. I guess it would have gone up against No Country and There Will Be Blood if it had which would've been an interesting race.
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Mar 15, 2021 21:36
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Timeless Appeal posted:Oscar Nominations are out! Exact same sentiment. Didn't expect the Academy to give Sound of Metal the most love it's gotten all season. I've still yet to see Judas, The Father, and Mank.
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Mar 15, 2021 23:05
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Cacator posted:Absolutely, but the Academy in its great wisdom did not deem it worthy of a single nomination. I guess it would have gone up against No Country and There Will Be Blood if it had which would've been an interesting race. 2007 was The Most insane year for film.
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Mar 15, 2021 23:09
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Euphoriaphone posted:lol at the optics on this Ironically, I think you could make a much stronger argument for Chadwick Boseman as supporting in Ma Rainey which is more authentically an ensemble story.
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Mar 16, 2021 00:31
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Woah, Thomas Vinterberg out of nowhere.
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Mar 16, 2021 03:33
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Best Actor is a bit stacked, but a little surprised Mads didn't end up with a Nomination after the Vinterberg nomination. I am sure The Father is good, but I'm also not sure it's an actual movie.
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Mar 16, 2021 03:37
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BeanpolePeckerwood posted:2007 was The Most insane year for film. It was fine. A few all timers. Any given year of the 60s or 70s was wilder.
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Mar 16, 2021 14:13
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TrixRabbi posted:It was fine. A few all timers. Any given year of the 60s or 70s was wilder. I'd say it stands out, on top of the three already mentioned you've got Stuck, Hot Fuzz, Assassination of Jesse James by the Coward Robert Ford, Before the Devil Knows You're Dead, Gone Baby Gone, Eastern Promises, Death Proof, Diving Bell and the Butterfly, Savages (any year that has two top ten Philip Seymour Hoffman roles bears mention), and of course, Spider-Man 3. It stands out a bit more because the oughts were kind of a wasteland (I dunno if I could put together a decent top ten for 2005, for example), but still, banger year.
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Mar 16, 2021 15:04
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I mean it's got a solid top 10, I'd say the best of 2007 is 4 Months, 3 Weeks and 2 Days. But I dunno, I find the early oughts way more fascinating. 2001-2003 is some weird rear end times as you watch the transition from pre to post 9/11 occur and cinema is struggling to shift gears.
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Mar 16, 2021 15:08
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TrixRabbi posted:I mean it's got a solid top 10, I'd say the best of 2007 is 4 Months, 3 Weeks and 2 Days. But I dunno, I find the early oughts way more fascinating. 2001-2003 is some weird rear end times as you watch the transition from pre to post 9/11 occur and cinema is struggling to shift gears. Yeah that might just be a difference in taste then, the early oughts are certainly weird but they're one of my least favorite eras for film (particularly American film, there were for sure a lot of great movies coming out of Japan and South Korea then). The good films from that era stand out because to me they were like a drink of water in the desert.
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Mar 16, 2021 15:14
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2007 status as a Great year for movies would be much better if the Great movie people talk about was Om Shanti Om, and not There Will Blood/No Country for Old Men/Zodiac. Of which of the three only the Fincher really stands up. Meanwhile in the year 1960, even when you exclude the Canon Greats like Psycho, The Apartment, La Avventura, La Dolce Vita and Breathless, you still have an insane roster of incredible films. Kurosawa released The Bad Sleep Well in 1960, often considered a minor Kurosawa, and honestly that movie is better than anything released in 2007.(with the exception of Om Shanti Om) Like Ozu made Late Autumn, and Naruse made 3 of his best films in 1960 like it was nothing. You also have Oshima with Cruel Story of Youth/The Sun's Burial/Night and Fog over Japan, Shinoda's Youth in Fury. And this is just Japan.
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Mar 16, 2021 15:24
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You lost me when you said There Will Be Blood and No Country For Old Men don't hold up.
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Mar 16, 2021 15:27
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Basebf555 posted:You lost me when you said There Will Be Blood and No Country For Old Men don't hold up. they definitely both hold up better than L'Avventura
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Mar 16, 2021 15:30
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They're fine, but also the directors made far better stuff. Before in the case of the Coens, and after in PTA case.Uncle Boogeyman posted:they definitely both hold up better than L'Avventura Big wrongo. Edit: Also while I do like TWBB I do sort of agree with this classic Neil Bahadur letterboxd review these days quote:Pointless film, but Daniel Day-Lewis gives an astonishing performance as Waluigi Electronico6 fucked around with this message at 15:41 on Mar 16, 2021 |
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Mar 16, 2021 15:34
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