The Oscars are bullshit.

I'd call THE SOCIAL NETWORK, INCEPTION, WINTER'S BONER, TOY STORY 3, THE KIDS ARE ALL RIGHT and BLACK SWAN, non-best picture material before naming TRUE GRIT.

The White Tuxedo wrote:

Working from the nominees that I've seen...

2001 - GOSFORD PARK
2002 - THE PIANIST
2003 - MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD
2004 - SIDEWAYS
2005 - MUNICH
2006 - Not sure.
2007 - NO COUNTRY FOR OLD MEN
2009 - A SERIOUS MAN, but I did like THE HURT LOCKER
2010 - Not sure.

Good choices.

I thought BLACK SWAN and THE SOCIAL NETWORK were fine.

They're what I call I modern Oscar bait. More edgy and arty than before, but instead of being sentimental, they're shallow and stone cold inside.

From 2010 I've seen...

-THE KING'S SPEECH
-127 HOURS
-BLACK SWAN
-THE FIGHTER
-INCEPTION
-THE KIDS ARE ALL RIGHT
-THE SOCIAL NETWORK
-TOY STORY 3
-TRUE GRIT
-WINTER'S BONE

THE KING SPEECH - Shit.

127 HOURS - I'm not one for Boyle's styling of filmmaking and I wasn't interested in the story, but I found the film effective.

THE FIGHTER - Just another boxing movie to me. I don't see anything special about it aside from Amy Adams in lingerie, and I found Christian Bale's performance immensely irritating. Not sure why.

INCEPTION - I was frankly bored by it after a while.

TOY STORY 3 - A step down from the first two, but a satisfying enough conclusion. That said, I wouldn't be surprised to see a TOY STORY 4.

TRUE GRIT - Nicely crafted, but totally dry treatment of the material. The last 10-15 minutes I really liked though, with the horse and all that. Loved the use of "Leaning" and thought the girl was terrific. If only the film unleashed the power of the story, this could have been a great film I think. It's like the Coens didn't give a shit... or something. An unemotional film to me.

WINTER'S BONE - I liked the story and I though Jennifer Lawrence carried the film, but I wasn't too impressed by a lot of the filmmaking. But you know me.

Sharky wrote:

They're what I call I modern Oscar bait. More edgy and arty than before, but instead of being sentimental, they're shallow and stone cold inside.

Disagree on shallow, but I am perfectly comfortable with the stone cold feel.

Makeshift Python wrote:

Sharky wrote:

They're what I call I modern Oscar bait. More edgy and arty than before, but instead of being sentimental, they're shallow and stone cold inside.

Disagree on shallow, but I am perfectly comfortable with the stone cold feel.

That's why I hate Michael Mann and David Fincher. Goddamn psychopaths.

The White Tuxedo wrote:

I just can't get into them. I like ballet, just not musicals. I can't get past the absurdity of people breaking out in song.

It works much better in a stage environment than it does on film. Film has rarely known quite what to do with musicals.

You might still like Pabst's THE THREEPENNY OPERA, though, Tux. One of the greatest films ever made, and by far the most interesting cinematic achievement in the genre to date. There, the artificiality of the musical numbers is kinda the point.

Sharky wrote:

It's become a cult movie for hipsters.

Hardly. It's celebrated as one of the The Greatest Films Ever Made by filmmakers and the critical establishment alike.

Harmsway wrote:

The White Tuxedo wrote:

I just can't get into them. I like ballet, just not musicals. I can't get past the absurdity of people breaking out in song.

It works much better in a stage environment than it does on film. Film has rarely known quite what to do with musicals.

You might still like Pabst's THE THREEPENNY OPERA, though, Tux. One of the greatest films ever made, and by far the most interesting cinematic achievement in the genre to date. There, the artificiality of the musical numbers is kinda the point.

I've heard of it. I'll get around to it some time this year. :)

Harmsway wrote:

Sharky wrote:

It's become a cult movie for hipsters.

Hardly. It's celebrated as one of the The Greatest Films Ever Made by filmmakers and the critical establishment alike.

Yeah. Nearly all 'em hipsters.

Sharky wrote:

Makeshift Python wrote:

Sharky wrote:

They're what I call I modern Oscar bait. More edgy and arty than before, but instead of being sentimental, they're shallow and stone cold inside.

Disagree on shallow, but I am perfectly comfortable with the stone cold feel.

That's why I hate Michael Mann and David Fincher. Goddamn psychopaths.

Sharky wrote:

Harmsway wrote:

Sharky wrote:

It's become a cult movie for hipsters.

Hardly. It's celebrated as one of the The Greatest Films Ever Made by filmmakers and the critical establishment alike.

Yeah. Nearly all 'em hipsters.

The label has lost any value, then.

Harmsway wrote:

Sharky wrote:

Harmsway wrote:

Sharky wrote:

It's become a cult movie for hipsters.

Hardly. It's celebrated as one of the The Greatest Films Ever Made by filmmakers and the critical establishment alike.

Yeah. Nearly all 'em hipsters.

The label has lost any value, then.

It's a broad label.

Well, no point watching those now.

Ambler is the king of hipsters.

The White Tuxedo wrote:

Ambler is the king of hipsters.

In days of yore, that was brown nosing. Ha

1977 Oscars Revisions:

Best Film:
THE KILLING OF A CHINESE BOOKIE
THE MAN WHO FELL TO EARTH
NETWORK
OBSESSION [Winner]
TAXI DRIVER

Best Original Score:
John Barry, KING KONG
Pino Donaggio, CARRIE
Bernard Herrmann, OBSESSION [Winner]
Bernard Herrmann, TAXI DRIVER
John Williams, FAMILY PLOT

Paul Schrader, TAXI DRIVER (Best Screenplay)
Vilmos Zsigmond, OBSESSION (Best Cinematography)
William Holden, NETWORK (Best Supporting Actor)
Robert De Niro, TAXI DRIVER (Best Actor)
Sissy Spacek, CARRIE (Best Actress)
KING KONG (Best Art Direction)
HARLAN COUNTY, USA (Best Documentary)
SMALL CHANGE (Best Foreign Film)

d00d u frg0t str warz

hes doing 76 you dumb bitch

Mr. Brown wrote:

1977 Oscars Revisions:

Best Film:
THE KILLING OF A CHINESE BOOKIE
THE MAN WHO FELL TO EARTH
NETWORK
OBSESSION [Winner]
TAXI DRIVER

Best Original Score:
John Barry, KING KONG
Pino Donaggio, CARRIE
Bernard Herrmann, OBSESSION [Winner]
Bernard Herrmann, TAXI DRIVER
John Williams, FAMILY PLOT

Paul Schrader, TAXI DRIVER (Best Screenplay)
Vilmos Zsigmond, OBSESSION (Best Cinematography)
William Holden, NETWORK (Best Supporting Actor)
Robert De Niro, TAXI DRIVER (Best Actor)
Sissy Spacek, CARRIE (Best Actress)
KING KONG (Best Art Direction)
HARLAN COUNTY, USA (Best Documentary)
SMALL CHANGE (Best Foreign Film)

Not bad at all.

Sharky wrote:

hes doing 76 you dumb bitch

dnt h@t 8) 8) 8)

In a Perfect World: 83rd Academy Award Best Picture Nominees

ANOTHER YEAR
I AM LOVE
THE ILLUSIONIST
THE SOCIAL NETWORK
WILD GRASS (*Winner*)

Great pick. I'm willing to let THE SOCIAL NETWORK go there.

THE ILLUSIONIST was a beautiful little film.

Thanks, Sharky. WILD GRASS is the kinda film the Academy would never, ever, *ever* pick. But in a perfect world...

BTW, great resource for this thread:

Comprehensive lists of the eligible films for the Academy Awards from all years from '27 to present day.