Kenneth Lonergan's MARGARET, starring Anna Paquin as a teenager in turmoil

clemenza, have you been to NYC? We scream at each other a lot.

I checked the Blu ray out of the library not knowing about how it was packaged the film but only got the DVD. After finding out I'd watched the extended cut, I was happier for it.

(xpost) A couple of times, yes; no one screamed at me, possibly because everyone sensed I was from out of town.

I meant to mention what I thought was the funniest line in the film (paraphrasing from memory): Kieran Culkin's "Yeah, but we're gonna skip that for now and keep moving ahead." And I think my favorite performance, admittedly a small part, was Jeannie Berlin's lawyer friend.

Damn, I was trying to figure out where I'd seen Paquin's younger brother--as himself in Mad Hot Ballroom!

Just saw this last night, the extended version (which was the only one they had at the actual, physical video rental store we got it from). It's exceptional. Has anyone compared it to the Sweet Hereafter? Both are about bus accidents, both about about the decision a young female must make for her witness statement.

I saw whatever version was on HBO and really liked it.

such a perfect movie for HBO - lots of stars, episodic, easy to get sucked in if you're flipping by, starring Anna Paquin as a young Lena Dunham

Lonergan to adapt Howards End for TV.

http://www.deadline.com/2013/10/kenneth-lonergan-to-script-howards-end-miniseries-bbc-playground-colin-callender/

Sure, why not?

haha damn

http://badassdigest.com/2012/02/16/film-crit-hulk-smash-22-short-thoughts-about-margaret#comment-1137804165

ha ha

this fucking film

Hadn't heard of this film pre the last revive, but read up on it, thought it sounded good, and bought / watched it yesterday. Really great.

Lonergan's play This Is Our Youth to be revived for Chicago and Broadway, starring ageless 'teens' Michael Cera and Kieran Culkin

http://www.theatermania.com/new-york-city-theater/news/04-2014/michael-cera-to-make-broadway-debut-in-this-is-our_68183.html/

Finally saw this last night, the 3 hour cut. Yes it could do with tightening up but I don't think that detracted too much. Thought the sound design was interesting with overlapping conversations and eg. passing traffic mixed as high as the main dialogue and making it difficult to focus, kind of suggesting how we all have these competing personal narratives struggling to make sense of the world. Really great film.

watched the 3-hr cut and immediately wanted to rewatch

not sure what was cut from it but i don't think anything needed to be. or there were a million things he could cut that were of equal significance/insignificance, because nearly everything seems like a subplot. the film enters this flat, sequential rhythm where every scene, even the Big ones, seem equally important and there's enough there in each that i wouldn't want to lose them. maybe they could've ended the legal drama sooner but then we'd miss the great image of lisa screaming into a machine (maybe the one time in the entire movie where the camera concentrates on something other than a human body or a skyscraper -- it was an impt break in that rhythm for me) or the all the matt damon shit, but i found that whole thing an interesting parallel/practically a retelling of the bus scene. i'm probably caught up in the hype of the whole "directors cut = true vision!!!" thing but i'm tickled (and sympathetic wrt) that lonergan must've found everything he included so necessary to lisa's story. i believe him!

there were at least 3 Great scenes in this

i haven't seen this for awhile, but how far removed the conference call scene is from the accident it's discussing, while still ostensibly being tethered to it, & how much is being folded into the incredibly insubstantial exchange that's happening -- it's so profound, & is such a moment, & yeah is the argument for the film accommodating just such a weight of incident & digression.

new lonergan & matt damon flick forthcoming btw. one day.

just remembered the other inanimate object the movie cared about, the shopping cart -- both stand-ins for human bodies obv

also the wiki cast list insists that ruffalo's wife's name was margaret (it was just "Mrs. Maretti" in the end credits iirc)

totally want to see this again

For This Is Our Youth, does anyone have advice on seating or when to go?

Second viewing, long version. I don't know how much was added, but the one scene that clearly wasn't there the first time I saw it--the drama group getting in touch with their feelings about each other--was pretty awkward (although undercut nicely by Kieran Culkin's benign ridicule). The rest of the film held up fine.

It's such a sprawl...What I thought especially strong this time was the mother-daughter stuff. One scene that bothered me the first time--Jeannie Berlin going off on Paquin--didn't this time. Paqin gives one of those Agnes Moorehead-in-Ambersons (or Julianne Moore-in-Magnolia) performances that is so odd and so intense that you're bound to have a strong reaction in one direction or the other. Liked both lawyers a lot. (The second one has a great deadpan moment, something like "You're going to get a lot of money"/"What's the point of doing this?"/"You're going to get a lot of money.") I've never set foot in a private school, but I found that one class (the one where they scream at each other about terrorism and Israel) a little weird. The teacher runs the class, but he has an assistant there to moderate?

I loved the classroom scenes. Was the getting-in-touch-with-feelings one a different one than the discussion on the "as flies to wanton boys are we to the gods" speech from King Lear (I haven't seen it since it first hit DVD)? Cause if so, that may have been my fave scene in the whole film.

Different scene, yes. The one you're remembering, where Broderick gets into the argument with the student, that's also one of my favourites (even though, as I said a few months ago, I think most teachers would welcome the disagreement). The theatre group is just in the long cut, and it verges on self-parody--Culkin saves it at the end.

New movie:
http://www.rogerebert.com/sundance/sundance-2016-manchester-by-the-sea

That's good news! I look forward to seeing it in 2021.

this one seems fully edited

"Anchored by a breathtaking performance from Casey Affleck"

is this possible

Excited about another film from this guy. Not so much another film starring an afleck as a working class dude from Boston

oh c'mon he's been good in plenty of things xp

Kyle Chandler is kinda cornering the market on small-but-memorable roles in American indies, huh

http://www.newyorker.com/magazine/2016/11/07/the-cinematic-traumas-of-kenneth-lonergan

manchester by the sea is p great imo. loved casey affleck in it

oh cool, we saw Little Men yesterday and I told tt it reminded me a bit of Margaret so we have to watch it now

I'm not sure how I felt about the film overall but jesus christ the big Williams/Affleck scene at the end is just utterly devastating

Surely this deserves a thread of its own?

saw this a few weeks ago & was surprised there wasn't a thread or much discussion (even a post search just revealed a lot of lists of titles on that dreadful tetris thread)

I saw a preview which meant I went in without having seen a trailer, which probably helped. I really liked it, I was chuckling pretty much start to finish while also finding it quite affecting

wasn't too sure about the broderick bit tho, it was funny but at a different pitch to the rest of the film, seemed like?

I liked Manchester by the Sea, but maybe not as much as I think I should have, and definitely not as much as I expected to. Affleck is fantastic, and his scene with Williams towards the end (spoiled a bit by Oscar clips, though far more powerful once you know what it is actually about) is indeed devastating. After a while, though, I started to wonder how it might have played minus all of the flashback scenes (and certainly minus the one brief but terrible dream sequence) which felt a bit too telling-not-showing for me. I did like Broderick's scene, though, mostly because I love Broderick as a middle-aged sad sack (see also, Election, and You Can Count on Me). Also great: Lonergan's cameo, and "Lily, Rosemary and the Jack of Hearts" (!!) scoring a sex scene.

I dunno, though--it may grow on me in time, but Lonergan's already made two of my favourite movies, so this one cannot help but feel like a very minor letdown in comparison.

Broderick has the funniest of his middle-aged schlump roles in awhile in Rules Don't Apply.