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

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."

I'm a fan of Nick's overall critical posture, but he gives off the impression of someone who grinds editors' resistance down right off the bat.

lol i totally forgot about Beale Street

GLAAD media award nominations...

Outstanding Film – Wide Release
“Blockers” (Universal)
“Crazy Rich Asians” (Warner Bros.)
“Deadpool 2” (20th Century Fox)
“The Girl in the Spider’s Web” (Sony Pictures)
“Love, Simon” (20th Century Fox)

Outstanding Film – Limited Release
“1985” (Wolfe Releasing)
“Boy Erased” (Focus Features)
“Can You Ever Forgive Me?” (Fox Searchlight)
“Disobedience” (Bleecker Street)
“The Favourite” (Fox Searchlight)
“Hearts Beat Loud” (Gunpowder & Sky)
“A Kid Like Jake” (IFC Films)
“The Miseducation of Cameron Post” (FilmRise)
“Saturday Church” (Samuel Goldwyn Films)
“We the Animals” (The Orchard)

Outstanding Drama Series
“Billions” (Showtime)
“Black Lightning” (The CW)
“Grey’s Anatomy” (ABC)
“The Handmaid’s Tale” (Hulu)
“Instinct” (CBS)
“Pose” (FX)
“Shadowhunters” (Freeform)
“Star” (Fox)
“Supergirl” (The CW)
“Wynonna Earp” (Syfy)

Outstanding Comedy Series
“Brooklyn Nine-Nine” (FOX, now NBC)
“Crazy Ex-Girlfriend” (The CW)
“Dear White People” (Netflix)
“Modern Family” (ABC)
“One Day at a Time” (Netflix)
“Schitt’s Creek” (Pop)
“Superstore” (NBC)
“This Close” (Sundance Now)
“Vida” (Starz)
“Will & Grace” (NBC)

Outstanding Individual Episode (in a series w/o a regular LGBTQ character)
“King in the North,” “Fresh Off the Boat” (ABC)
“Prom,” “Fuller House” (Netflix)
“Service,” “Law & Order: Special Victims Unit” (NBC)
“She,” “The Good Doctor” (ABC)
“Someplace Other Than Here,” “The Guest Book” (TBS)

Outstanding TV Movie or Limited Series
“American Horror Story: Apocalypse” (FX)
“The Assassination of Gianni Versace: American Crime Story” (FX)
“Life-Size 2” (Freeform)
“Sense8” (Netflix)
“A Very English Scandal” (Amazon Prime)

Outstanding Documentary
“Believer” (HBO)
“Call Her Ganda” (Breaking Glass Pictures)
“My House” (Viceland)
“Quiet Heroes” (Logo)
“When the Beat Drops” (Logo)

Outstanding Kids & Family Programming
“Adventure Time” (Cartoon Network)
“Andi Mack” (The Disney Channel)
“Anne with an E” (Netflix)
“She-Ra” (Netflix)
“Steven Universe” (Cartoon Network)

Outstanding Reality Program
“American Idol” (ABC)
“I Am Jazz” (TLC)
“Love & Hip Hop” (VH1)
“Queer Eye” (Netflix)
“RuPaul’s Drag Race” (VH1)

Outstanding Music Artist
Brandi Carlile, “By the Way, I Forgive You” (Low Country Sound/Elektra)
Brockhampton, “Iridescence” (RCA)
Christine and the Queens, “Chris” (Because Music)
Hayley Kiyoko, “Expectations” (Atlantic)
Janelle Monáe, “Dirty Computer” (Bad Boy Records)
Kim Petras, “Turn Off the Light, Vol. 1” (BunHead)
Shea Diamond, “Seen It All” (Asylum Worldwide)
Sophie, “Oil of Every Pearl’s Un-Insides” (Future Classics)
Troye Sivan, “Bloom” (Capitol Records)
Years & Years, “Palo Santo” (Polydor)

Outstanding Comic Book
“Batwoman,” written by Marguerite Bennett, K. Perkins (DC Comics)
“Bingo Love,” written by Tee Franklin (Image Comics)
“Exit Stage Left: The Snagglepuss Chronicles,” written by Mark Russell (DC Comics)
“Fence,” written by C.S. Pacat (BOOM! Studios)
“Iceman,” written by Sina Grace (Marvel Comics)
“Lumberjanes: The Infernal Compass,” written by Lilah Sturges (BOOM! Studios)
“Oh S#!t It’s Kim & Kim,” written by Magdalene Visaggio (Black Mask Comics)
“Runaways,” written by Rainbow Rowell (Marvel Comics)
“Star Wars: Doctor Aphra,” written by Kieron Gillen, Simon “Spurrier” (Marvel Comics)
“Strangers in Paradise XXV,” written by Terry Moore (Abstract Studio)

Outstanding Video Game
“Assassin’s Creed: Odyssey” (Ubisoft)
“The Elder Scrolls Online: Summerset” (Bethesda Softworks)
“Guild Wars 2: Path of Fire” (ArenaNet)
“Pillars of Eternity II: Deadfire” (Versus Evil)
“The Sims Mobile” (Electronic Arts)

Outstanding Variety or Talk Show Episode
“Mike Pence and ‘A Day in the Life of Marlon Bundo’,” “Last Week Tonight with John Oliver” (HBO)
“NRA Problems, Chicken Bone Problems, Birmingham Problems,” “Wyatt Cenac’s Problem Areas” (HBO)
“Trans Rights Under Attack,” “Full Frontal with Samantha Bee” (TBS)
“Troye Sivan Hopes ‘Boy Erased’ Reaches All Parents,” “The Late Show with Stephen Colbert” (CBS)
“Valedictorian Seth Owen,” “The Ellen DeGeneres Show” (syndicated)

Outstanding TV Journalism – Newsmagazine
“Conversion Therapy: God Only Knows,” “CBS Sunday Morning” (CBS)
“Gender: The Space Between,” “CBS News” (CBS)
“Legacy of Hope,” “Nightline” (ABC)
“Respect,” “SC Featured” (ESPN)
“South Texas Pride” [series], “KSAT News” (KSAT-TV [San Antonio, Texas])

Outstanding TV Journalism Segment
“Historic Number of LGBTQ Candidates on Ballots This Year,” “NBC Nightly News” (NBC)
“Mississippi Town Denies Pride Parade,” “Vice News Tonight” (HBO)
“Olympian Adam Rippon,” “New Day” (CNN)
“Same-sex Couple Reacts to Supreme Court Ruling,” “CNN Tonight with Don Lemon” (CNN)
“Trump: ‘Looking Very Seriously’ at Changing Transgender Definition,” “Velshi & Ruhle” (MSNBC)

Outstanding Newspaper Article
“He Took a Drug to Prevent AIDS. Then He Couldn’t Get Disability Insurance” by Donald G. McNeil Jr. (The New York Times)
“LGBTQ Parents Challenge Stereotypes in China” by Sue-Lin Wong, Jason Lee (Reuters)
“‘More Than Fear’: Brazil’s LGBT Community Dreads Looming Bolsonaro Presidency” by Marina Lopes (The Washington Post)
“Pistons’ Reggie Bullock to Transgender Community: ‘I see y’all as people that I love'” by Malika Andrews (Chicago Tribune)
“Transgender Students Asked Betsy DeVos for Help. Here’s What Happened.” by Caitlin Emma (Politico)

Outstanding Magazine Article
“21 Transgender Stars, Creators Sound Off on Hollywood: ‘I Want to Portray These Characters, and I’m Ready'” by Chris Gardner, Rebecca Sun, Lindsay Weinberg, Joelle Goldstein, Bryan White (The Hollywood Reporter)
“Can a Transgender Woman Get Justice in Texas?” by Nate Blakeslee (Texas Monthly)
“Ex-Scientologist Michelle LeClair Says Church Officials Humiliated Her After She Came Out as Gay” by Johnny Dodd, Tierney McAfee (People)
“Lena Waithe is Changing the Game” by Jacqueline Woodson (Vanity Fair)
“They are the Champions” by Katie Barnes (ESPN The Magazine)

Outstanding Magazine Overall Coverage
Billboard
Ebony
Entertainment Weekly
GQ
Variety

Outstanding Digital Journalism Article
“Across U.S., LGBTQ Christians Try to Change Hearts and Minds From the Pews” by Julie Compton (NBCNews.com)
“Bermuda Same-sex Marriage Ban Means Trouble for Tourism and Cruise Ships” by Ryan Ruggiero (CNBC.com)
“Deadnamed” by Lucas Waldron, Ken Schwencke (ProPublica.org)
“LGBTQ Caravan Migrants Marry While Waiting for Asylum in Tijuana” by Sarah Kinosian (INTOmore.com)
“Workplaces Need to Prepare for the Non-Binary Future” by Samantha Allen (TheDailyBeast.com)

Outstanding Digital Journalism – Video or Multimedia
“I Was Jailed for Raising the Pride Flag in Egypt” by Amro Helmy (Buzzfeed Video)
“The Latinx Drag Queens Spearheading HIV Activism on the Border” by Paola Ramos (Vice.com)
“March for Our Lives and LGBT activism: ‘They’re definitely linked for me,’ says Emma González” by Beth Greenfield (Yahoo! Lifestyle)
“Marielle and Monica: The LGBT Activists Resisting Bolsonaro’s Brazil” by Fabio Erdos, Marina Costa, Charlie Phillips, Jacqueline Edenbrow (TheGuardian.com)
“Trans Model Aaron Philip is Making a Space for Disabilities on the Runway” (NowThis)

Outstanding Blog
Gays With Kids
Holy Bullies and Headless Monsters
My Fabulous Disease
Pittsburgh Lesbian Correspondents
TransGriot

Special Recognition
“Nanette” (Netflix)
“TransMilitary” (Logo)

The full Spanish-Language Nominees:

Outstanding Scripted Television Series (Spanish-Language)
“Elite” (Netflix)
“Mi familia perfecta” (Telemundo)
“Mi marido tiene más familia” (Univision)
“Papá a toda madre” (Univision)

Outstanding TV Journalism – Newsmagazine (Spanish-Language)
“Denuncian trabas migratorias contra la comunidad transgénero,” “Un Nuevo Dia” (Telemundo)
“Entrevista con Luis Sandoval para National Coming Out Day,” “Despierta América” (Univision)
“No es fácil en EEUU ser un gay latino,” “Noticias Telemundo Mediodía” (Telemundo)
“La primera escuela para niños transgénero de Chile,” “Nuestro Mundo” (CNN en Español)

Outstanding TV Journalism Segment (Spanish-Language)
“Entrevista con Pat ‘Cacahuate’ Manuel” Noticias Ya Tampa Bay (Univision)
“LAFC Pride Republic” Noticiero Univision Los Ángeles (Univision)
“Madre hispana lucha contra un agresivo cáncer seno” Noticias Univision Arizona (Univision)
“Primera Pareja Gay en Casarse en un Consulado Mexicano” Noticias Telemundo Mediodía (Telemundo)
“Transpesina” Univision 21 Fresno (Univision)

Outstanding Digital Journalism (Spanish-Language)
“Apoyo y recursos para jóvenes LGBTQ y sus familias” por Virginia Gaglianone (LaOpinion.com)
“Así pinta la televisión hispana a los personajes LGBTQ, una representación preocupante” por Daniel Shoer Roth (ElNuevoHerald.com)
“Dallas: Para jóvenes LGBT con DACA, la lucha ha sido salir de dos clósets” por Jenny Manrique (AlDiaDallas.com)
“De la censura a la celebración: la historia de una exposición queer en Brasil” por Ernesto Londoño (NewYorkTimes.com/es)
“Desaliento y miedo en medio de celebración del Orgullo LGBT en NYC” por José Martínez (ElDiarioNY.com)

Special Recognition (Spanish-Language)
“House of Mamis” (INTOmore.com)

Bohemian Rhapsody blackballed via Bryan Boymancer

“Spurrier”?

I have every confidence that all five of the movies they nominated instead are superior.

(to BH, I mean)

i thought i read that they pulled its nominations yesterday

And here's my detrius list.

SAG surprises are Emily Blunt and Black Panther, I guess.

https://www.cnn.com/2019/01/27/entertainment/sag-awards-winners-2019/index.html

Stick a fork in A Star is Born, basically.

always about the AAs!

At this point in the year it is, yeah.

DGA to Cuaron

BAFTA winners:

Best Picture: Roma
Film not in the English language: Roma
British Film: The Favourite
Animated Film: Spider-Man: Into the Spider-Verse
British Short Film: 73 Cows
Outstanding Debut: Beast (Michael Pearce-Writer/Director, Lauren Dark-Producer)

Lead Actress: Olivia Coleman (The Favourite)
Lead Actor: Rami Malek (Bohemian Rhapsody)
Supporting Actress: Rachel Weisz (The Favourite)
Supporting Actor: Mahershala Ali (Green Book)
Rising Star: Letitia Wright (Black Panther)

Director: Alfonso Cuaron (Roma)
Cinematography: Alfonso Cuaron (Roma)
Editing: Hank Corwin (Vice)
Original Screenplay: Deborah Davis, Tony McNamara (The Favourite)
Adapted Screenplay: Spike Lee, David Rabinowitz, Charlie Wachtel, Kevin Willmott (BlacKKKlansman)
Visual Effects: Geoffrey Baumann, Jesse James Chisholm, Craig Hammack, Dan Sudick (Black Panther)
Costume Design: Sandy Powell (The Favourite)
Makeup & Hair: Nadia Stacey (The Favourite)
Production Design: Fiona Crombie, Alice Felton (The Favourite)
Original Music: Bradley Cooper, Lady Gaga, Lukas Nelson (A Star is Born)
Sound: John Casali, Tim Cavagin, Nina Hartstone, Paul Massey, John Warhurst (Bohemian Rhapsody)

Beast was aight

lol at two dozen awards going to like five films

If Joanna Lumley's 'jokes' were anything to go by, all award shows might be better off without a presenter. Jokes fell flat because they were lame.

Stoked for Olivia Coleman tho.

Can You Ever Forgive Me? was a real treat - sharp, funny and desperately sad, in the end. McCarthy is amazing in it. Has it been discussed on here?

No dedicated thread. It's the sharpest mainstream queer film of 2018.

I was very moved by it. It made me think of 84 Charing X Road too, which is always good.

I have not gotten to it; my best friend couldn't get past the "repulsive" characters.

I loved both of them.

Did you do a review, Al?

yes

I don't wanna oversell it: the ending is as soft as the repulsive characters aren't in the other 100 minutes.

I found it. I agree that the film unfolds almost exactly how you'd imagine it would but I still found it exciting and found the ending moving in a way that I didn't anticipate. Or rather, that I did anticipate but it still got me, in spite of its obvious movement.

(probably because of Melissa M)

I liked it a lot, agree with pretty much everything above. MM and REG are great, its melancholy is moving, and it is surprisingly understated in parts (particularly the date MM goes on). Rare to find an awards season movie starring two gay characters, addiction, unrequited love, and AIDS that isn't cloying or totally nauseating. Wonderful color palette, too - its light as if through whiskey.

yeah i've been trying to carefully talk that movie up, it really moved me but a lot of what's great is its smallness and subtlety and i don't want to pump it up too much.

Wonderful color palette, too - its light as if through whiskey.

otm

It's also not cloddish about writing. It realizes an essential truth: to be a writer is to engage in a beautiful fraud.

Indie Spirits to Beale Street, Jenkins, Close, Hawke

https://variety.com/2019/film/news/2019-spirit-awards-winners-complete-list-1203147196/

(like you glamour girls give a fuck)

I count Hawke among the glamour girls

ew, you haven't seen him close up

my favorite line was "the network's first choice to host was no one, but they're already booked for tomorrow"

xxxp that final scene with Melissa McCarthy and Richard E Grant was so great

an understated melodramatic moment like that was what the film needed at the end I thought

FC readers poll

https://www.filmcomment.com/blog/readers-poll-2018/

Anderson’s daring to work in a foreign idiom, guaranteeing thorny questions for most viewers and recriminations from the nitpicking woke feels more like an asset than a distraction. Frances McDormand’s limited role is both comfort food and anchor: a beacon in an admittedly colonial but ultimately forgivable effort.—Brett Scieszka, Los Angeles, CA

Bold part=New Board Description?

I think "admittedly colonial but ultimately forgivable" might be more apt