Movies: PGT: 2017 Academy Awards

[Langdon Alger]

Well, he did screw up in a major way twice. First, he handed out the wrong card to Beatty and, second, he failed to interrupt the proceedings immediately as per his company's own protocols. If he doesn't take the fall than his other colleague may have had her reputation unnecessarily compromised.

I see what you mean, but he's going to take a lot of heat for this on Twitter. I feel for the guy. It was an honest mistake.

 

[stan the caddy]

I didn't put words in your mouth, I asked you a direct question to clarify your earlier comments. Is this the first time you've had a conversation with someone? This sort of thing is pretty typical of communication, it's how we better understand each other's points.

You claim that your argument is simple, but there are parts of it you seem to be intentionally trying to obfuscate by ducking questions. You won't even say if you saw the film or not, so we can't tell if your opinion on its plot is based on reading some summary online or its a well-informed one based on, you know, actually seeing the film you're talking about. Will you answer whether or not you've seen the film? Will you say whether or not you think it deserved to win or only did because of what happened last year?

I said I saw the movie, I don't think you saw my argument.

 

[snowden]

You can argue that every film nominated is Oscar bait in some way, doesn't make it a bad thing.

Also, Moonlight started filming in October 2015, way before the Oscarssowhite thing and was in development for a couple years before that. To say this film was made with the intention of winning Best Picture and capitalize on the racial issues of Oscar is a bit goofy.

 

[Mitchy]

You can twist any film into being "Oscar bait." Such a trash excuse to bring down Moonlight with that crap, but of course it's not surprising a film, where the main characters are black, is getting that type of backlash.

 

[kihei]

You can argue that every film nominated is Oscar bait in some way, doesn't make it a bad thing.

Also, Moonlight started filming in October 2015, way before the Oscarssowhite thing and was in development for a couple years before that. To say this film was made with the intention of winning Best Picture and capitalize on the racial issues of Oscar is a bit goofy.

Goofy and laughable, too. An introspective movie about a damaged, gay black man made on a budget of $1.5 million (as approximated by Forbes Magazine): how farther removed from Oscar pretensions could it possibly get?

 

[les Habs]

You can argue that every film nominated is Oscar bait in some way, doesn't make it a bad thing.

Also, Moonlight started filming in October 2015, way before the Oscarssowhite thing and was in development for a couple years before that. To say this film was made with the intention of winning Best Picture and capitalize on the racial issues of Oscar is a bit goofy.

Goofy and laughable, too. An introspective movie about a damaged, gay black man made on a budget of $1.5 million (as approximated by Forbes Magazine): how farther removed from Oscar pretensions could it possibly get?

Furthermore, people who thinks it's more than it was should actually listen to what the creators have to say about it:

http://www.npr.org/2017/02/24/516880101/for-films-creators-moonlight-provided-space-to-explore-a-painful-past

We'll have to agree to disagree about Titanic, because I thought it was fantastic.

I agree on The Hurt Locker. When I finished watching it, my first thought was that was a really, really good movie. My second thought was, "Was that really the best picture of the year?"

As for the others... I'm just not one of those people who watches movies because I'm "supposed to." I don't buy into hype. Either a movie appeals to me or it doesn't.

I liked Titanic visually to a degree, but I thought the majority of the performances were awful. Di Caprio included. Then again I think the vast majority of anything James Cameron has done is awful starting with Avatar. As much as I don't like Titanic, I'd rather watch that than Avatar any day.

To be honest I'd want to see The Hurt Locker again, but plenty of better nominees over the years much less winners. IMO that was a weak year and The Hurt Locker wasn't even the best nominee.

Oh, exactly, and more power to you. My Dad doesn't get into movies, yet when I expose him to certain films he loves them. I still remember taking him to see True Grit like it was yesterday. He still loves it almost as much as I do. Anyway, I think you like what you like and you don't like what you don't like. Same for me.

 

[kihei]

I said I saw the movie, I don't think you saw my argument.

I saw your argument, I don't think you saw the movie.

 

[Kamal007]

I always find these threads funny because after never posting in any of the award threads or any of the movie threads, a bunch of trolls ALWAYS come out with some hot take about the Oscars or the movies at the oscars. Seems like its always a little anti-sjw/left whatever bias in these hot takes as well.

 

[Shareefruck]

It's difficult to make a film with this subject matter without those accusations. How could one tell a story about a gay Black man without people responding this way?

The more interesting thing to consider is why people aren't making these comments about La La Land.

Maybe Oscar bait isn't the right word... it doesn't necessarily have anything to do with wanting to milk an award, but there are just certain creative decisions and moments that, to me, instinctively felt a bit like it was at risk of potentially drifting into on-the-nose heavy-handed territory in the first two acts. Just a tiny bit, and then the third act was like "Nope, nothing like that."

Hard to explain. It's not a race or sexuality thing. It's closer to an "inorganically setting up hardships primarily for the purpose of making you feel bad for the hardships" goto-move that certain movies have that put them in danger of disinterest for me. whether it's about blacks/gays or not.

And again, it was still one of my favorite movies of the year. But if the third act was more along the lines of the first two, I would probably feel very differently.

 

[Spring in Fialta]

Maybe Oscar bait isn't the right word... it doesn't necessarily have anything to do with wanting to milk an award, but there are just certain creative decisions and moments that, to me, instinctively felt a bit like it was potentially drifting into on-the-nose heavy-handedness in the first two acts. Just a tiny bit, and then the third act was like "Nope, nothing like that."

Hard to explain. It's not a race or sexuality thing. It's closer to an "inorganically setting up hardships primarily for the purpose of making you feel bad for the hardships" goto-move that certain movies have that put them in danger of disinterest for me.

The refusing to stay down moment for one. That was way too melodramatic and heavy-handed for my taste. I'd mentioned it when I first talked about the movie after seeing it. I thought the subsequent chair beating well-done though.

 

[Shareefruck]

The refusing to stay down moment for one. That was way too melodramatic and heavy-handed for my taste. I'd mentioned it when I first talked about the movie after seeing it. I thought the subsequent chair beating well-done though.

I felt that way about some of the drug-addict mother scenes as well.

The chair-beating scene was great. I must have some deep-seeded anger issues or something, because those types of scenes tend to get me really emotional.

I feel like the cinematography/framing and tasteful pace saved alot of it for me too.

 

[Spring in Fialta]

I think these sorts of scenes - like the drug addicted mother scenes - have just been done so many times for dramatic effect that they've - at least for me - lost a lot of their potential punch and end up feeling too melodramatic to me by default and need to be spectacularly well done to work on me. In the last scene between the main character and his mother in the garden, his facial expressions worked well within the confines of the character and added a lot to the scene. For my money though, the best scene I've seen of this sort is between Lorraine Bracco and Leonardo DiCaprio in The Basketball Diaries even if the film itself wasn't all that good.

 

[Ainec]

a lot of melodramatic and hokey scenes this year


first 5min of Hacksaw Ridge.. wtf can't believe it was a Mel Gibson move, had to turn it off for better or worse.

Arrival too, with the child dieing of cancer. Still watched it, and it was a good film.

 

[Spring in Fialta]

Mel Gibson is the living representation of the word hokey. What a lame ass dude.

 

[Ainec]

Mel Gibson is the living representation of the word hokey. What a lame ass dude.

Braveheart and Apocalypto are masterpieces

I'm glad he's back, I might give Hacksaw another try but man if it was any other director, no way.

 

[member 151739]

The Edge of Seventeen should have won Best Picture.

Wait, was that Oscar bait too? I can't seem to remember all these bullet points that make up an Oscar bait film. And if it was, it failed. It wasn't even nominated!

Also, the first half hour of Hacksaw Ridge was great. Felt like it was lifted from the 1940s with how cheesy and earnest it was.

 

[Langdon Alger]

Mel Gibson is the living representation of the word hokey. What a lame ass dude.

I'm sure hokey isn't the worst thing Mel Gibson has been called.

 

[Shadow Journal]

Maybe Oscar bait isn't the right word... it doesn't necessarily have anything to do with wanting to milk an award, but there are just certain creative decisions and moments that, to me, instinctively felt a bit like it was at risk of potentially drifting into on-the-nose heavy-handed territory in the first two acts. Just a tiny bit, and then the third act was like "Nope, nothing like that."

Hard to explain. It's not a race or sexuality thing. It's closer to an "inorganically setting up hardships primarily for the purpose of making you feel bad for the hardships" goto-move that certain movies have that put them in danger of disinterest for me. whether it's about blacks/gays or not.

And again, it was still one of my favorite movies of the year. But if the third act was more along the lines of the first two, I would probably feel very differently.

Fair enough. In my head Hidden Figures seemed to capture that sort of feeling more than Moonlight did, and I saw the former before I saw the latter so that might have affected how I viewed it. Fences could also be considered in that light a bit, what with Denzel's (I think intentionally) heavy-handed performance (I don't know if that's the right term to use, but I'm sure if you've seen it you'll know what I mean).

The Hollywood Reporter's director's roundtable is interesting to watch to hear Jenkins talk about how personal the story is for him. His mother was also a crack addict, so he had to try to keep doing his job and divorce himself from his past and emotions all while watching this (imo) fantastic actor capture someone who reminded him so much of the really painful parts of his past. He said he used the emotions that it brought up to inform his art though, and in particular he changed one shot based on his memories of how it felt when it happened to him (I won't say which one, it's worth watching the conversation to find out).

 

[Shareefruck]

Fair enough. In my head Hidden Figures seemed to capture that sort of feeling more than Moonlight did, and I saw the former before I saw the latter so that might have affected how I viewed it. Fences could also be considered in that light a bit, what with Denzel's (I think intentionally) heavy-handed performance (I don't know if that's the right term to use, but I'm sure if you've seen it you'll know what I mean).

The Hollywood Reporter's director's roundtable is interesting to watch to hear Jenkins talk about how personal the story is for him. His mother was also a crack addict, so he had to try to keep doing his job and divorce himself from his past and emotions all while watching this (imo) fantastic actor capture someone who reminded him so much of the really painful parts of his past. He said he used the emotions that it brought up to inform his art though, and in particular he changed one shot based on his memories of how it felt when it happened to him (I won't say which one, it's worth watching the conversation to find out).

For the record, I didn't mean to imply that there weren't worse offenders, or that it didn't come from a genuine place. Just that I think there was some of that in there.

 

[BonMorrison]

I always find these threads funny because after never posting in any of the award threads or any of the movie threads, a bunch of trolls ALWAYS come out with some hot take about the Oscars or the movies at the oscars. Seems like its always a little anti-sjw/left whatever bias in these hot takes as well.

Edgelords galore.

 

[kihei]

^^^^^^^^^^^^^^^^^^^^

Shareefruck and Bon excepted, all you guys should watch more European/Asian movies.

 

[SJSharksfan39]

The Edge of Seventeen should have won Best Picture.

Wait, was that Oscar bait too? I can't seem to remember all these bullet points that make up an Oscar bait film. And if it was, it failed. It wasn't even nominated!

Also, the first half hour of Hacksaw Ridge was great. Felt like it was lifted from the 1940s with how cheesy and earnest it was.

The Edge of Seventeen was a really underrated movie last year.

 

[Baby Punisher]

I'm sure hokey isn't the worst thing Mel Gibson has been called.

Gibson would probably pay real good money if that's the only thing people called him.