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

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

shameful absence of the Denis/Binoche film from that poll, esp given FC's cover story on the new, very stupid Denis/Pattinson/Binoche film

Wondering if #13 is the worst showing for an editorial poll #1 in reader poll history.

Well! What do you think of my elegant new screenname?

Insufficiently Woke.

Not a bad list really

The Film Comment poll was also the best of the critics’ polls this year I thought

I caught Capernaum today with my Mom - I can definitely see why some hate it but Labaki's facility with her young actors is just too good for me to be too mad about the schmaltz, which also wasn't nearly as over-the-top as I was expecting. plenty of consensus "classics" are way more overwrought, and most of the more upsetting events were elided. Rami Malek oughta send that kid his Oscar.

looking forward to seeing it

I will say that if you instinctively recoil against sentiment or melodrama it is Not For You

also the "very stupid" Denis film was much more enjoyable to me than Let the Sunshine In

"esp given FC's cover story on the new, very stupid Denis/Pattinson/Binoche film"

I was wondering about that. I've heard good things about it

although I did really like Let the Sunshine In

I found LTSS mysteriously irritating, the only Denis film I feel this way about (though L'Intrus went over my head and White Material kinda bored me)

ditto on those last two, and Bastards didn't do much either

I thought LTSS was a scream, and much more accurate about men than some of the nitwit American [redacted]ism of the last 10 years.

I can't read some of the thinkpieces on High Life w/out suspecting a prank is being played on me

Accurate =/= compelling, idk it had some chuckles and the late Depardieu appearance was intriguingly off-kilter but the whole thing just felt pointless, much like dating itself, which is some kind of accomplishment but not one that felt worthwhile to me

L'intrus was for me the most out there of all of her films, really didn't get it. White Material was also somewhat mysterious, after seeing it twice I'm still not sure I understand what it was really about.

Let the Sunshine felt like something familiar, about someone trying but unable to make a connection, struggling to realize that maybe it doesn't matter

*Let the Sunshine In