This is the thread where we discuss matters pertaining to the detrius that accompanies the "End of the Year in Cinema" -- 2018

oh c'mon, he did second-unit on LoA

i see world cinema was included, which means citing Rotunno for All That Jazz and not his Italian work is moronic.

Mom and Dad > Ready Player One / Isle of Dogs / The Ballad of Buster Scruggs

This is defensible, I don't mistrust anyone who disliked Scruggs

Vox Lux > A Star Is Born

A crazed failure of a path-to-stardom musical is inherently more interesting than a Bradley Cooper remake

Ray Meets Helen > If Beale Street Could Talk

this would seem probable if not for Armond's race-focused ranting in the blurn

Loveless > Crazy Rich Asians

seems a fairly inoffensive proposition

The Mule > Green Book

almost certainly true

Uncle Drew > Black Panther

Uncle Drew looked terrible but also like it would exactly please its intended audience, which puts it ahead of Black Panther, which is the same except that the intended audience is "everyone, hopefully"

Double Lover> Mary Poppins Returns

there's no way this isn't true

Chappaquiddick > Vice / On the Basis of Sex

who could possibly care

How to Talk to Girls at Parties > Eighth Grade / Mid-90s

lol absolutely not re Eighth Grade, but I could see the weird failures and never-not-vivacious approach of Talk beating the instagram-filtered earnestness that Mid-90s' trailer suggested

The 15:17 to Paris > A Quiet Place

another one that would seem plausible as a personal opinion if not for Armond's insane political ranting in the blurb

The House That Jack Built > First Reformed / BlacKkKlansman

anyone who tends to like LvT could hold this position 9 times before breakfast on aesthetics alone

Museo > Roma

remaking The Help as a Latin American turdscape.

The Misandrists > The Favourite / Suspiria

again, this one could run on aesthetics alone

Bodied > Sorry to Bother You / BlacKkKlansman

seems unlikely re SBTY

Jeannette: The Childhood of Joan of Arc > First Reformed

sure, why not

At Eternity’s Gate > Bohemian Rhapsody

most likely

8 out of that top 10 is from the same 14 year stretch. Baby Boomers need to get out of cultural criticism.

Presumably these are all working cinematographers (who may or may not be boomers).

AW musta had a bad Schrader experience at a Paulette party

Conrad Hall was fine, but really Searching for Bobby Fischer? when The Leopard among many others is left off?

“Blurn” is a good unintended coinage, sic

Blurb burn

I'm going to be charitable and just assume that many of the voting members of the ASC thought they were supposed to stick with American films.

oh c'mon, he did second-unit on LoA

― a Mets fan who gave up on everything in the mid '80s (Dr Morbius), Tuesday, January 8, 2019 2:23 PM (fourteen minutes ago) Bookmark Flag Post Permalink

wasn't that the one he got fired from?

they do have Jack Cardiff twice for Archers films, but Caleb Deschanel 5x for films made in '79-84 (The Natural!?).

oh nvm he was the cinematographer for Doctor Zhivago (and got fired & didn't get the Oscar he deserved) xp

Roeg had never been a DP on a feature in '62; there's no way he was ever in line for LoA, over Freddie Young who had a ton of credits

xp

Didn't know Alan Rudolph had a new movie (Ray Meets Helen), so thanks to Armond for that.

I like Rudolph and I saw it last summer; it's amiable and has some good scenes, but not so hot.

(Sondra Locke's last film)

@ sic: yes, gillian armstrong's starstruck. it's delightful!

I remember it being a MASSIVE cultural presence when I was a kid but have never seen it

Jeannette: The Childhood of Joan of Arc > First Reformed

I want to believe

Is Armond White mixing up Peter and Bobby Farrelly a deliberate troll?

I'm sure he'll say it was if you asked.

We regret to inform the 11 Offenses of 2018 are here. https://t.co/a12a2tlfmO

— Reverse Shot (@reverse_shot) January 12, 2019

(haven't seen any of those, consider myself warned)

Full Sight and Sound poll results now online

https://stories.bfi.org.uk/best-films-2018-full-poll/?fbclid=IwAR2IL2eFutIVMzFkTlzubPTFk8FQRog0lnSZpo3bh8USKLxsb1cMqbm1aBk

fuckin hell

2017+2018 polls combined tab = Zama wins over Roma, so.

welllll at least La Flor turned up again

Fred still waiting for his inevitable elephant film

It got to number two on the Tativille list. Behind The Mule... Do you think that was a subtle political dig?

no enrique among the S&S voters... Armond, however.

Gone are the days where he requested his ballots not be visible (as in Village Voice polls of yore).

former ilxor tapestore voted! High Life, ye gods...

The fights I remember with tapestore and NRQ make the Frederik dustups seem quaint

all is forgiven.

Gaga got sumthin

https://www.usatoday.com/story/life/movies/2019/01/14/critics-choice-awards-2019-winners-list/2566779002/

Labuza-Uhlich best-of podcast (part 1)

www.thecinephiliacs.net/2019/01/2018-countdown-with-keith-uhlich-part-1.html

London Film Critics Circle:

https://www.theguardian.com/film/2019/jan/21/roma-and-the-favourite-triumph-at-the-london-film-critics-circle-awards

Every time a read a headline like 'The Favourite Triumphed' I think 'fucking clickbait ruining everything'. Still gets me every time.

2018 was a great yeat for cinema, probably this decade best year

I'd vote 2012 or 2013.

2018 benefited from 2017 films finally getting broader releases (eg, Zama, First Reformed, Death of Stalin, Paddington 2, (in the US) Phantom Thread (in the UK)). Despite the far lower costs of theatrical releases (A DCP is far cheaper to send on a drive or download to theaters than a celluloid print), the promotional schedule has gotten more rugged, a year of festival showings and pre-release mass-market promotion before release.

It was a good year, and way better than 2010 or 2011.

2016 was pretty strong: Certain Women, Personal Shopper, Silence, Julieta, The Witch, Deadpool, The Light Between Oceans, Moonlight, La La Land (just that ending sequence), Nocturnal Animals, Rules Don't Apply (seriously slept on), Elle, Toni Erdmann, many I'm forgetting...

oh! Arrival, Zootopia, Central Intelligence, Sausage Party, Hell or High Water...

2017 films finally getting broader releases (eg, Zama, First Reformed, Death of Stalin, Paddington 2, (in the US) Phantom Thread (in the UK)).

Phantom Thread only screened in two US cities in 2017! (and First Reformed played maybe one festival?)

The dating used by the major film information sites (like imdb and letterboxd) usually follows copyright/festival releases, whereas the EOY ephemera runs on press screenings/wider release. From reliance on imdb et al, we'll probably all get a somewhat distorted idea of what came out any given year. For future retrospectives, a given year stamp means it came out that year, or likely in the next two year.

There's much confusion in my letterboxd wishlist, as there are still '2017' releases I'm looking forward to for 2019 release (Dau and Tigers are Not Afraid), and numerous festival reviews for '2018' releases that if I'm lucky might show up locally (Climax, Transit, In Fabric, Diamantino and Aniara).

First Reformed is a 2018 movie

2017 festivals, 2018 release. Most of the audience doesn't go to festivals. This isn't hard to understand (unless you're Danish).

however, Phantom Thread had gotten its wider release in the first two months of 2018, which is why people in Green Acres should hold their best-of lists til the leaves bloom.

Most films don't get a Danish release, which does make it a bit harder to understand. But that part is surprisingly hard to understand for New Yorkers, apparently.

First Reformed is a 2019 limited release here. It did play a festival in 2018. Saw it, but it just felt so 2017 to me.

Think we need to rewind, you watched that film some time, probably more than three times, Ethan Hawke's a two-time-nom, two-time-nom.

On the desperate emergence of vigilante solutions in a few 2018 films, for @Harpers: https://t.co/yZrSBqEzuN

— 𝕿𝖗𝖔𝖚𝖇𝖑𝖊 𝕰𝖛𝖊𝖗𝖞 𝕯𝖆𝖞 (@NickPinkerton) January 17, 2019

some good observations in there but good lord that needs a vicious editing-pass. just read this nightmare of a sentence aloud:

"It’s still smart enough to err just on the correct side of out-and-out racism, as most any multiplex movie must—so we get a smattering of good Latinos to deflect accusations of out-and-out racism, just as Joel Schumacher’s Falling Down(1993), in which Michael Douglas cleans the Augean stables of Los Angeles’s mean streets, includes a neo-Nazi among its list of villains by way of proving to the squeamish that his judge, jury, and executioner justice was at least colorblind."