And NYFCC just served you up some karma for that one, bitch.
Pissed at no tongue action between Fassbender and Viggo.
Movie critics not knowing shit about baseball shockah. Also, what’s your problem lately? xp
They have Animated and Cinematography yet to do...
Shortest pause ever in the Twitter feed to announced Lubezki for cinematography.
That they’re going to try to give something w/ Sorkin’s name on it a screenplay award whenever possible is a sign of devolution from the Ben Hecht era.
special cemetery award to Raul Ruiz, highlight of the day
Best Picture to The Artist
Yep, it’s official. I’m going to hate that one.
me too, bitch
Well heil Hitler, bitch.
Harvey Weinstein’s cache of NYFCC members’ horsefucking photos have carried the day again!
Actually, the movie looks kinda cute for real.
If it was between that and Moneyball, I’m guessing they chose correctly.
It’s no more special than the OSS movies, really.
And who paid attention to them?
Indie Spirits (glad to see In the Family up for First Film... but UGH Bellflower, maybe the year’s most repulsive):
Best Feature
50/50
Beginners
Drive
Take Shelter
The Artist
The Descendants
Best Director
Michel Hazanavicius, The Artist
Mike Mills, Beginners
Jeff Nichols, Take Shelter
Alexander Payne, The Descendants
Nicolas Winding Refn, Drive
Best Screenplay
Joseph Cedar, Footnote
Michel Hazanavicius, The Artist
Tom McCarthy, Win Win
Mike Mills, Beginners
Alexander Payne, Nat Faxon, Jim Rash, The Descendants
Best First Feature
Another Earth
In the Family
Margin Call
Martha Marcy May Marlene
Natural Selection Director
Best First Screenplay
Mike Cahill, Brit Marling, Another Earth
J.C. Chandor, Margin Call
Patrick deWitt, Terri
Phil Johnston, Cedar Rapids
Will Reiser, 50/50
John Cassavetes Award – Given to the best feature made for under $500,000
Bellflower
Circumstance
Hello Lonesome
Pariah
The Dynamiter
Best Female Lead
Lauren Ambrose, Think of Me
Rachael Harris, Natural Selection
Adepero Oduye, Pariah
Elizabeth Olsen, Martha Marcy May Marlene
Michelle Williams, My Week with Marilyn
Best Male Lead
Demián Bichir, A Better Life
Jean Dujardin, The Artist
Ryan Gosling, Drive
Woody Harrelson, Rampart
Michael Shannon, Take Shelter
Best Supporting Female
Jessica Chastain, Take Shelter
Anjelica Huston, 50/50
Janet McTeer, Albert Nobbs
Harmony Santana, Gun Hill Road
Shailene Woodley, The Descendants
Best Supporting Male
Albert Brooks, Drive
John Hawkes, Martha Marcy May Marlene
Christopher Plummer, Beginners
John C. Reilly, Cedar Rapids
Corey Stoll, Midnight in Paris
Best Cinematography
Joel Hodge, Bellflower
Benjamin Kasulke, The Off Hours
Darius Khondji, Midnight in Paris
Guillaume Schiffman, The Artist
Jeffrey Waldron, The Dynamiter
Best Documentary
An African Election
Bill Cunningham New York
The Interrupters
The Redemption of General Butt Naked
We Were Here
Best International Film
A Separation
Melancholia
Shame
The Kid With a Bike
Tyrannosaur
Robert Altman Award (Given to one film’s director, casting director, and its ensemble cast)
Margin Call
UGH Bellflower, maybe the year’s most repulsive
So you really do hate anything that excites 20- and 30-something straight male movie fans, huh.
or, as Glenn Kenny called the star-director, misogynist closet cases.
Better just skip Drive imo.
If we still lived in a Roger Corman world, Bellflower would play drive-ins under the title Fuckin’ Bitches, Man.
I’ll never understand how people watch Bellflower and take the woman-hating at face value.
This was Armond’s five for the S&S poll apparently:
Incendies
Rise of the Planet of the Apes
Attack The Block
Paul
Film socialisme
Attack The Block tied for twelfth in the overall list
planning to see Incendies and Paul in the next 10 days...
I’ll never understand how people watch Bellflower and take the woman-hating at face value.
It’s arguably the kind of face value that’s a secret to the filmmaker, like Tarantino’s racism.
Had no idea Armond was so big on Incendies.
well he doesn’t like Georges Melies!
There’s a little truth in:
Scorsese seems to be imitating the pixilated world of Jean-Pierre Jeunet, a vision of Paris’s cultural heart that was authentically marvelous in Amelie, City of Forgotten Children and last year’s wondrous, underappreciated Micmacs.
Aside from the implication that Amelie is anything other than excrement souffle.
or that Micmacs was any good at all
authentically marvelous
more confirmation that I loathe adverbs.
Or that “pixilated” is a word choice.
not a fan of Mr Deeds Goes to Town?
To the extent it matters, Melancholia and Hugo were runners up at the NYFCC.
http://www.nypost.com/p/blogs/movies/oscar_watch_nyfcc_artist_streep_cgtEJaBqTH0iqr9hhEmzpN
Not The Tree of Life.
Authentically marvelous?
has anyone warmed up to these Russian art movies Silent Souls, My Joy, etc? They’re morbid as hell and yet I still can’t get into em.
Huh...watched Attack the Block last night and I thought it was ok, but not great or anything.
I agree. I much preferred “Submarine” in terms of film debuts from British comedians
what is the guy who did Submarine known for? I have been putting that one off since the US reviews were “minor league Rushmore.”
He’s a very mannered comedic actor who’s appeared in a couple of fairly well known UK sitcoms (The IT Crowd being the most prominent). It is very Wes Anderson but it’s a little bit nastier than he normally is. The shots of a perpetually gloomy Swansea are quite lovely
I think The IT Crowd has run on US cable, but I’ve never seen it.
Probably blowing off J Edgar screening (they sent a disc) so I can see A Dangerous Method tonight.
It is very Wes Anderson but it’s a little bit nastier than he normally is. The shots of a perpetually gloomy Swansea are quite lovely
Submarine reminded me of what the Youth In Revolt movie should have been. I wish they’d been able to have a genuine 80s soundtrack instead of all the Alex Turner stuff. Noah Taylor & Sally Hawkins both superb as well-drawn parents.
Also features a Pink Floyd reference on a custom van, so it rules.
They actually made a pilot for a US version of The IT Crowd with Ayoade playing the same character. It pretty much sank without trace though
I liked the Alex Turner songs too. I think having a load of period pop songs would have been an Andersonism too far
Perhaps. I imagine that—along with budget restrictions—was part of the reasoning. Though it still bugs me that the dad gives the kid his mix tapes from his own youth to listen to and we hear Alex Turner pretending to be Nick Drake/Cat Stevens/James Taylor etc. instead of the real deal.
submarine was the most generic indie movie possible
for something with absolutely no trace of originality in story, concept, or style, it wasn’t that bad—the teen actors were good
that’d be nice, but a lost battle
The best kind.
It’s arguably the kind of face value that’s a secret to the filmmaker, like Tarantino’s racism.
Hmm. I think Mike D’Angelo (who I don’t often agree with) has the take that most closely aligns with my own:
Glodell clearly knows these guys are pathetic, in my opinion; that a certain amount of genuine adolescent wish-fulfillment creeps in only lends the film a fascinating tension. Journey from dorky sweetness to epic misogynistic self-pity is abrupt and bracing, beautifully aided by the sulfurous color scheme, ultra-shallow focus and grime-caked lens. Woodrow will now turn into Death Proof’s Stuntman Mike.
I did not find the visuals anything beyond “cool” in rather familiar ways.
Liked the Croney! No classic, but worked almost all the way for me. Mortensen a surprisingly menacing daddy Freud. Fassbender’s best of the 3 big turns this year.
Don’t quite understand all the critical potshots at the twitches/ grimaces of Knightley (who has the toughest role). Maybe disturbed masochists don’t squeal and bug out precisely that way, but baseball GMs don’t fly to other cities to talk trade, either, and that drew no objections in Moneyball.
Yeah I thought she was really strong, and every single person I saw it with in Colorado thinks I’m nuts.
pretty much “nobody” likes J. Edgar, am I wrong?
just dropping into say fuck submarine, carry on. it was fine & funny & not even really insulted by ‘minor-league rushmore’, & the perfs were good. but yeah the soundtrack was awful & an awful idea, & its stylisms are good ambassadors for what’s wrong with so much of that kind of gimmicky contemporary storytelling style, cf beginners, also; it all blunted the emotional affect of seeing any of the people in the film actually interact.
amy taubin <3d j edgar, fwiw—was almost enticed to go see on her rec
see I even thought most of the screwball-comedy aspects of Beginners played reasonably well, including the dog subtitles. It’s not going to make my Top 20, but it probably would have in any of the last three lousy years.
what I meant re the Harris thing was DiCaprio ain’t winning awards, is he? xp
Beginners is the equivalent of a drone rocket aimed at an American citizen.
^^ have no idea what this mean but agree 100% emotionally
I just can’t even go there, the thing that sorta embodied what was wrong with it to me was the ‘dramatic montage’ scene of them arguing, either breaking up or reconciling, in the bedroom of a house, cut together w/shots of furrowed brows, angular stances, handed-hips, all set to piano music instead of actual dialogue, an emotional cinema born of sam mendes rather than john cassavetes. like that’s what the film was meant to be about, & yet how they would function or communicate or miscommunicate in a relationship was so much less important than just the various compositions of them as pairing, propped in different modes and costumes, meaningful glances that i guess we’re expected to just tether to our own and extrapolate outwards from.
there was a lot else about it that was awful: the didactic, bold & exclamatory ‘THIS MAN IS THE PRESIDENT’ kinda thing—like maybe I just misunderstand it & it wasn’t meant to be an emotional film, but these just seemed like attractive, contemporarily appealing irrelevancies to me—as well as just the awful laziness of its dressing; the guy is a graphic designer, who doesn’t even manage to be a graphic designer but who we’re meant to feel for as he rejects the path of terrible conformity in fulfilling a commission as required.
i don’t know i was on a plane recently and someone an aisle away was watching this, & seeing it peripherally & silently kinda renewed my bile for it. the parts w/the father were affecting. but even that kinda just felt like autopilot. i rewatched annie hall not so long ago & i feel like they’re probably interesting touchstones for each other—there’s such a deep dynamic analysis of the couple in AH, in addition to it being a funny, v varied film. beginners just seemed so slack and unambitious, an attractive-people-sad-romance film.
& in the interests of full disclosure i thought the future kind of a small masterpiece, so there’s that
re: Beginners, the Plummer/MacGregor stuff is great, the MacGregor/Laurent stuff is spotty.
The Future didn’t make me want to kill everyone around me. Small victories.
Haven’t seen Beginners but The Future did make me want to kill everyone around me
it was so good
it was about “how we live now” (i know there is baggage to ‘we’ as white middle class college educated professionals &c&c&c&c&c&c&c but i still think it spoke for a lot of ppl)
it was so well rooted in routines & behaviours & flaws that i just haven’t really seen in any other films
I’m with you, schlump. The movie was phony, mawkish, and hysterical (my review, if you’re interested)
I don’t agree with your Mendes-Cassavetes binary – Cassa made some hysterical, meretricious movies too!
Soto, just imagine that Beginners stars Cary Grant, Charles Coburn and Michele Morgan.
The Future, is that Miranda July?
Yes, she’s married to Beginners guy. Oh to be a fly on the wall
remember reading & loving yr review when i was pedalling this cynicism on ilx, alfred, i enjoyed yr hostility
i guess i’m just lazily using cassavetes as a byword for that kind of confrontational tracking of conflict approach, of following an arc of tension the way we do seeing a woman under the influence. & invoking sam mendes because the guy could make a link wray biopic & score it with meandering piano slow jams. mills just didn’t seem interested in anything other than weary or challenged seeming characters, pictured in various moods.
future is July yeah, & if it offers additional encouragement I wasn’t crazy about her prev film, though amusing.
Plummer w/ gay Scout neckerchief. I didn’t realize that was Goran Whatshisname til the credits — I liked that the film didn’t hate him even though he’s kind of a pinhead.
I believe my current top 3 films of the year ran a total of 6 weeks in NYC. (And two of them I first saw before 2011.)
i am not a great listmaker but was paralysed earlier flicking through s&s & remembering that the portuguese nun was 2011, which makes my top 5, more for effort & singularity than for being solid, but which i enjoyed a lot.
six weeks in nyc doesn’t seem terrible tbh ...
Will finally get to Incendies this weekend.
never heard of the portuguese nun , which even sounds like it will never open in NYC. Skolimowski’s Essential Killing would be my #1 if VOD-only films were eligible.
Alfred, it seemed real obv to me that Beginners was set in LA, I think even before the “I went to Akbar” line. And do you know many men who came out age 50 or later? CP’s performance seemed a fair representation of them to me (notice I did not say “real/istic” cuz fuck that).
The premise didn’t offend me – it’s slinking away from a situation of real dramatic interest by inserting a chickenshit hetero love story.
Plus, Plummer’s been playing post-fifty closeted gay men for decades now; he’s the least convincing of good hetero actors.
I also think Goran Visnjhvgc was a fair representation of aesthetically appalling gays, who are everywhere.
Mike Wallace is gay??
I’ll be totally cool with Certified Copy running the table like Azealia Banks.
you mean in Indiewire / FC?
I’m not at all sure it will beat out the cosmos and flying Chastain.
I’ll be fine with that too.
feeling guilty for skipping out of Incendies & essential killing, now, the latter bc i couldn’t quite motivate myself to see something i thought was just gonna be a great performance—hadn’t really heard anyone speak of it so highly.
portuguese nun is a v “”bressonian“”, ie static, solemn film by french-new-yorker eugene green, who made a few other pics i haven’t seen & a third of a film that i maybe even recall you mentioning on ilx morbs?, w/farocki & costa, ‘correspondences’, which section i liked a lot too (it was about email).
i should maybe try to catch our beloved month of august before the end of the year, also
speaking of clergy, Of Gods and Men would make my list.
yes, likely to at least make my Hon Ments. Too “middlebrow” for some people (ie it’s about monks).
ah, I’m not real wild about Eugene Green.
I saw To Die Like a Man at NYFF 2010 but really wasn’t impressed tho I like the director.
oh damn yeah that also, i did like it a lot (xp re OG&M)—i guess the argument against it/the competition would be that it feels like there have been v ‘wide ranging’ films of a similar feel this year, but yeah. there’s actually a lil reverent spiritual run of pre-holiday screenings at the cinema, here, feat of gods & men (re: which, btw, has anyone seen the guy’s other film?), as well as into great silence, which sounds interesting. still to catch mysteries of lisbon & a couple of other things this year, so maybe this will all get more complicated soon. (i wish this our still life was playing locally).
my top five, vaguely, fwiw, in no order is: the portuguese nun, the future, la quattro volte, archipelago & a separation. of gods & men bubbling under, & i also hope to see something like tron 3d to take the feeling of insularity from my top five. into the abyss, the tree of life, some others bubbling under.
No idea where this will show up (low low budget/promotion), but it’s the best gay-themed American film I’ve seen in a long while:
this still leads all documentaries for me:
you guys liked Weekend?
a lot of the press for it here seems to have been jubilant & appreciative at it not being too distinctly, in content or pitch, a “”gay movie“”, but tbh i think it could have gone even further in that direction, that its state-of-the-union wasted discussion of marriage &c was kinda a distraction from what it was achieving just as a portrait. but yeah it was good. maybe a lil tidy.
Artforum lists from John Waters and Ed Halter:
http://www.artforum.com/inprint/id=29547
haha, Woody Allen has his biggest hit in years so of course JW snubs him this time.
I did sign the Margaret petition. Eric, did it show up in Mpls?
also I’m sicking of ppl bitching about actors’ accents. As long as it’s better than Mandy Patinkin’s in The Princess Bride, stfu and tell me what you thought about the shit that matters.
9 We Were Here (David Weissman) Half my friends died of AIDS, so this simple and painfully told doc on the disastrous epidemic’s effect on San Francisco is personal. If you don’t sob watching, maybe you should be dead too.
<3 JW
Best Actor: George Clooney, The Descendants
Best Actress: Tilda Swinton, We Need to Talk About Kevin
Best Supporting Actor: Christopher Plummer, Beginners
Best Supporting Actress: Shailene Woodley, The Descendants
Best Original Screenplay: Will Reiser, 50/50
*rubs hands together*
Oh, this is gonna be a fun Oscar year.
ugh, you knew some group would take fucking Hugo up as a “cause.”
I’m to see We Need to Talk About Kevin next week.
I think Waters is unique even among Almodovar fans in ranking this one.
I’m really hoping Plummer doesn’t die before voters send ballots.
pajama-wearing NBR.
Their dismissal of Moneyball is enough to offset their ongoing Eastwood/Clooney lovefest.
Spotlight Award: Michael Fassbender (A Dangerous Method, Jane Eyre, Shame, X-Men: First Class)
IOW “Best Actor if we didn’t have such a hard on for Clooney”