Re: Awards Season 2009
Posted: Sun Dec 13, 2009 11:45 pm
Both AFI lists are sketchy but man is everything forgiven by them recognizing the brilliance of Party Down
No Best Documentary feature.rs98762001 wrote:No Terence Davies at the Globes??!!
I was joshing. I'd be surprised if a sole member of the Hollywood Foreign Press Whatever has even heard of Davies, let alone seen Of Time and the City.Dr Amicus wrote:No Best Documentary feature.rs98762001 wrote:No Terence Davies at the Globes??!!
And much as I'd like to see him in the Best Director category, that was never a likely proposition.
Actually, that performance seems to be getting a substantial amount of praise from quite a few well-respected critics (including the guys at Slant, who are a forum favorite). Of course, it appears to be in the same vein as Depp's performance as Jack Sparrow.Dr Amicus wrote:Robert Downey Jr? Really? For Sherlock Holmes?
The rumour is supposedly the villain being Jewish for no reason has kicked it's chances in half. Stupid I know.domino harvey wrote:Globes aren't necessarily all that predictive, but An Education barely getting any notice here and elsewhere doesn't look good for its chances
To avoid confusion with that Chris Evans/Dakota Fanning movie that came out earlier this year that nobody remembers. But that doesn't say why they can't just stick with plain old "Precious." The long title has "contractual obligation" written all over it.dx23 wrote:I would love to know why is the film Precious being marketed with that long, ridiculous title.
Thanks for clearing that up. At least the title doesn't go "Tyler Perry and Oprah Winfrey presents Lee Daniels' Precious:Based on the Novel Push by Sapphire"Matt wrote:To avoid confusion with that Chris Evans/Dakota Fanning movie that came out earlier this year that nobody remembers. But that doesn't say why they can't just stick with plain old "Precious." The long title has "contractual obligation" written all over it.dx23 wrote:I would love to know why is the film Precious being marketed with that long, ridiculous title.
And if that's too high brow for you, John Waters' Top Ten:1. Les Herbes folles – Alain Resnais
2. Vincere – Marco Bellochio
3. Inglourious Basterds – Quentin Tarantino
4. Gran Torino – Clint Eastwood
5. Singularités d’une jeune fille blonde – Manoel de Oliveira
6. Tetro – Francis Ford Coppola
7. The Hurt Locker – Kathryn Bigelow
8. Le Roi de l’évasion – Alain Guiraudie
9. Tokyo Sonata – Kiyoshi Kurosawa
10. Hadewijch – Bruno Dumont
1 Import Export (Ulrich Seidl) The most sorrowful movie of the year is also the best. The miserable lives of Ukrainian immigrants in Vienna make this agonizing but brilliantly directed opus the cinematic equivalent of slitting your wrists. A new genre? Depression porn? Hey, I got off.
2 Antichrist (Lars von Trier) If Ingmar Bergman had committed suicide, gone to hell, and come back to earth to direct an exploitation/art film for drive-ins, this is the movie he would have made
3 In the Loop (Armando Iannucci) A smart, mean, foulmouthed British satire about the struggle for global power that asks the all-important question: How do you debate the invasion of Iraq if your gums start to bleed in the middle of your presentation?
4 World’s Greatest Dad (Bobcat Goldthwait) Why, oh why, wasn’t this blackest of comedies a hit? Appallingly rude, decidedly family unfriendly, this autoerotic-suicide tale of a hateful son and his clueless father left the viewer gasping in surprise.
5 Brüno (Larry Charles) Don’t listen to the critics—it’s better than Borat. Imagine a hetero teen couple in a mall on a first date somewhere in Middle America watching Sacha Baron Cohen pantomime every known gay male sex act, ending in a joyous “facial.” Sometimes audiences get what they deserve.
6 Lorna’s Silence (Jean-Pierre and Luc Dardenne) How do these great art films get financed? European socialism, that’s how, and I’m glad the taxpayers abroad put up the dough for this Tracking Shots“R”Us masterpiece. Only the Dardenne brothers could get away with not showing the dramatic action that climaxes the whole movie. Just think if they had to test-screen this film in America!
7 Broken Embraces (Pedro Almodóvar) There was some grumbling from Cannes that this wasn’t one of Pedro’s best, but boy were those rumors wrong. It’s a beaut! A relentlessly intelligent melodrama filled with so many dizzying plot points that you’ll experience vertigo.
8 The Baader Meinhof Complex (Uli Edel) Now here were some kids who knew how to cause trouble! Hmmm...What should we do today? Stop the Olympics or blow up a commercial airplane? These radicals made the Weathermen look like pussies.
9 Whatever Works (Woody Allen) Gerontophilia never seemed so appealing. This time, Woody goes a little gay and lives to tell about it with lovely, comic success. I am so mad I don’t have this director’s career.
10 The Headless Woman (Lucrecia Martel) Bleached hair, hit-and-run accidents, in-laws with hepatitis? Huh? I didn’t get it, but I sure did love it!
Which means it has a 66% chance of not winning the Oscar. I kid, I kid ... it obviously has no chance.xavier110 wrote:The Hurt Locker sweeps, joins L.A. Confidential, Schindler's List, and Goodfellas as the only films to win the triple crown (LA/NY/NSFC).
Agreed! Though I have this awful feeling he will soon verge into that "so underrated, he's overrated" territory.Murdoch wrote:Great to see Schneider win.