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Cashless Society

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  1. Ah, I was looking at it frome a much narrower perspective (Picture + Director nomination, produced outside of US/UK)
  2. I'm surprised at how many people don't take the voting power of the new members into consideration of their predictions. Poor Things would have never received a nomination just a decade ago. The international section really loves Lanthimos. Can't wait for the 20-year retrospective on this, when people start asking what the Academy was thinking giving Oppenheimer all these awards when better films existed alongside it. I get the feeling that the new batch of members aren't at all concerned with the whole spread the wealth outlook. Also, where any of this year's nominees as hyped as EEAAO? Because hype can get you additional awards, deserved or otherwise. I've been waiting to write of the BAFTAs as a precursor ever since they announced that the winners are determined by a small select jury. Last year seemed like the start of it and yet somehow they bounced back.
  3. But Cannes has proven to be the most significant this decade (Parasite, Drive My Car, Triangle of Sadness and now Anatomy of a Fall).
  4. Now that I've watched most of the nominees, here's my ballot if I was a member of the Academy: Best Picture 1. Anatomy of a Fall 2. Killers of the Flower Moon 3. The Zone of Interest 4. Barbie 5. Past Lives 6. American Fiction 7. Poor Things 8. The Holdovers 9. Oppenheimer 10. Abstain Best Director: Winner: Justine Triet - Anatomy of a Fall Runner-up: Martin Scorsese: Killers of the Flower Moon Best Actor: Winner: Cillian Murphy - Oppenheimer Runner-Up: Paul Giamatti - The Holdovers Best Actress: Winner: Lily Gladstone - Killers of the Flower Moon Runner-Up: Sandra Hüller - Anatomy of a Fall Best Supporting Actor: Winner: Ryan Gosling: Barbie Runner-up: Robert De Niro - Killers of the Flower Moon Best Supporting Actress: Winner: Danielle Brooks - The Color Purple Runner-up: Da'Vine Joy Randolph - The Holdovers Best Original Screenplay: Winner: Justine Triet - Anatomy of a Fall Runner-up: Celine Song: Past Lives Best Adapted Screenplay: Winner: Jonathan Glazer: The Zone of Interest Runner-up: Greta Gerwig & Noah Baumbach- Barbie Best Animated Feature: Winner: The Boy and the Heron Runner-up: Spiderman: Across the Spiderverse Best International Feature: Winner: Society of the Snow Runner-up: The Zone of Interest Best Original Score: Winner: Ludwig Göransson - Oppenheimer Runner-up: Robbie Robertson - Killers of the Flower Moon Best Original Song: Winner: Wahzhazhe - Killers of the Flower Moon Runner-up: I'm Just Ken - Barbie Best Sound: Winner: Willie Burton, Richard King, Gary Rizzo & Kevin O'Connell - Oppenheimer Runner-up: Abstain Best Production Design: Winner: Jack Fist & Adam Willis - Killers of the Flower Moon Runner-up: Sean Price, Shona Heath & Zsuzsa Mihalek - Poor Things Best Cinematography: Winner: Rodrigo Prieto - Killers of the Flower Moon Runner-up: Edward Lachman - El Conde Best Makeup & Hairstyling: Winner: Ana López-Puigcerver, David Martí & Montse Ribé - Society of the Snow Runner-up: Nadia Stacy, Mark Coulier & Josh Weston - Poor Things Best Costume Design: Winner: Jacqueline Durran: Barbie Runner-up: Jacqueline West: Killers of the Flower Moon Best Film Editing: Winner: Laurent Sénéchal - Anatomy of a Fall Runner-up: Thelma Schoonmaker - Killers of the Flower Moon Best Visual Effects: Winner: Takashai Yamazaki, Kiyoko Shibuya, Masaki Takahashi & Tatsuji Nojima - Godzilla Minus One Runner-up: Abstain (I haven't seen the other nominees)
  5. Does that really matter? KotFM loosing out in a competitive field shouldn't have that much of an effect on her chances. And apparently Leo has been doing more campaigning for Gladstone than for himself, so that probably a benefit for her.
  6. There's a chance Marty could go 0-10 on back-to-back films at the Oscars? For me, it's been undeniable since the start of the awards season. Oppenheimer is well liked with no clear challenger and it doesn't seem to be polarising Academy members, so a CODA/Power of the Dog scenario is unlikely to happen here. Hasn't he been getting away with this since the Star Wars sequels?
  7. That's kinda how it goes at the Emmy's. Usually the score wins during a show's early seasons, and I don't think a show has won it more than twice, after that it's completely forgotten about.
  8. Perhaps it's just a less offensive way saying Technical Craft? I can kind of see voters getting bored listening to variations of a score (even though it's good) compared to something different
  9. Looking at the nominees, the key word here appears to be Cinematic. If it really was about box office, then Fast X, The Little Mermaid and Quantumania would also be nominated. I think this award is meant to tell studio big wigs that films don't necessarily have to be assembly line productions to be financially successful, giving filmmakers artistic freedom can also do that.
  10. A pretty fun flick, although it may be too meta for its own good.
  11. In which Nolan hijacks The Facebook Movie, while incorporating some Malick elements here and there. If you're fan of Nolan's filmography, you'll have a blast seeing Oppenheimer. (I saw this in digital imax, where there were no sound issues). The issues I had where the same issues I've had with his previous films: Noaln still tries to be as literal as possible, delivering the message with the subtlety of a sledgehammer. Perfunctory editing, jumping from one scene to the next to get to the story moving quickly, while not giving the scene time to breathe and for the audience to digest. Nolan still doesn't know how to write and properly film intimate relationships. On the positive side, the performances were top notch, they should really make an Oscar category for best ensemble or best casting. And Göransson's score was exceptional, exceeding beyond the many technical components of the film (except maybe the acting) without completely drowning everything out. I'd be surprised if Göransson doesn't win all the awards for his score.
  12. That Greg would end up taking over Waystar Royco. The timeline of the show is really wonky, but 18 months would be sometime in season 2. At that point Roman and Kendall were vying it out to see who would be Logan's number 2 in the proxy war, and Shiv rejoined the company. I could definitely see the underlining as Logan putting in a note to revisit whether Kendall should still be running the company. Given everything that went down during season 3, the document may have slipped his mind.
  13. I was listening to this one podcast which says that Logan, in terms of character, resembles Redstone more than Murdoch. I'm pretty sure that was a wink to the fan theory that was popular during the early seasons. Really? To me it looks like he clearly intended to underline it but his poor health makes it look like he's scratching it out halfway. It's also hilarious that Kendall is intact, but Logan Roy is scratched out. Yep, I wonder who he'll turn to once Hugo is gone. Nah, Greg always improves his station with every passing season, he's the Bronn of this show.
  14. Never mind, I'm stupid. There's actually a 70% correlation between Picture and Director. To be fair, outside of a niche group of film lovers, most people thought this was a bad movie upon release. But the argument against Marvel isn't that it's about superheroes, but rather that instead of being an artistic expression, it's an assembly line product. That's the difference between them. People still go crazy over The Dark Knight right? I think the exhaustion is part of the reason it resonated so much with certain audiences, particularly with Gen-Z. Depends on how one defines "Original". Throughout the previous year, a lot of people where talking about Top Gun: Maverick as if it was somehow an "original" movie. I'm pretty sure it will. Any movie that comes out early in the year, gets constantly talked about throughout the year and receives a best picture nomination pretty much stands the test of time. Taxi Driver, Get Out, Silence of the Lambs. I'm not sure it will change what gets awards anytime soon. Look at the other big win of the night, a movie that fits many characteristics of Oscar Bait. There's a high probability that it could have won more awards if Netflix had been campaigning for it from the beginning.
  15. Apparently, editing used to be the best predictor until round about the new millennium.
  16. No it's not. As a matter of fact, approximately half the best picture winners have also won best director.
  17. My personal picks if I was a member of AMPAS: Picture: EEAAO, Tar, Elvis, Women Talking, Avatar: The Way of Water, The Banshees of Inisherin, The Fabelmans, Top Gun: Maverick, Triangle of Sadness, All Quiet on the Western Front Director: Daniels (Runner-up: Todd Field) Actress: Cate Blanchett (Runner-up: Michelle Yeoh) Actor: Colin Farrell (Runner-up: Paul Mescal) Supporting Actress: Kerry Condon (Runner-up: Hong Chau) Supporting Actor: Ke Huy Quan (Runner-up: Brendan Gleeson) Adapted Screenplay: Abstain, none of these nominees are worthy. Original Screenplay: EEAAO (Runner-up: Tar) International Feature: Argentina, 1985 Song: Lift Me Up (Runner-up: This is a Life) Animated Feature: Guillermo del Toro’s Pinocchio (Runner-up: Marcel the Shell with Shoes On) Editing: Elvis (Runner-up: Tar) Cinematography: Abstain, none of these nominees are worthy. Visual Effects: Avatar: The Way of Water Production Design: Elvis (Runner-up: Avatar: The Way of Water) Costume Design: EEAAO (Runner-up: Black Panther: Wakanda Forever) Makeup & Hairstyling: The Batman (Runner-up: Black Panther: Wakanda Forever) Sound: The Batman (Avatar: The Way of Water) Original Score: The Fabelmans (Runner-up: The Banshees of Inisherin)
  18. I see what you're saying, but I wouldn't say it's "pretentious hack" category. Rather that, similar to M. Night, having too much success early in his career has now left him in a state of "can I still live up to this reputation?" phase. Where now he’s overdoing it. M. Night got over this hurdle after the Will and Jaden vehicle that crashed and burned and no one in Hollywood was willing to finance his films any longer. I wonder what it would take for Aronofsky to get over his hurdle.
  19. Finally got around to watching Drunken Angel, the first collaboration between Kurosawa and Mifune. Exciting to see Kurosawa still working out some his visual style and also venting out some of his frustration during the occupation period. Mifune's performance was great, and I would have loved to see him in a suave James Bond type role. All Quiet on the Western Front, and I was rather disappointed in the film. A lot of the scenes were very perfunctory and had almost no emotional impact on me, so when key moments occurred, it felt meaningless and somewhat manipulative. It also felt as if the film was manufactured to win awards by utilising Hollywood style filmmaking in what is supposed to be an antiwar film and was only helped by the story not providing an opportunity for elaborate grandiose scenes. I would recommend giving Come and See a watch for those who haven't seen it, as it actually succeeds where this fails. Living was a good watch, although completely unnecessary if you've already seen the original masterpiece. The Whale was pretty much the most try-hard movie of the awards season, which I suspect is why it got such a limited number of nominations. Fraser and Hong Chau deliver performances that rise way above the lacklustre material they were given to work with. Sadie Sink on the other, lacks the experience of the former two and looked really terrible, it's one of those characters where defenders will claim "she's a teenager, that's how they behave" as a way to excuse such terrible writing. And the final scene was one of the most comical things I've seen in a while. I almost fell off the couch at how pompous the whole thing played out. I wonder if the editor turned to look at Aronofsky and dared to ask him, "are there really no better takes of this scene?" Aftersun was the best of the bunch I saw. It's like the type of movie Sofia Coppola tried to make with Somewhere, but it actually succeeds. I loved that there was no need for the dad to do a monologue about depression and dissatisfaction with life, instead it's all just shown visually and with Paul Mescal's subdued yet brilliant performance. Oddly enough, some of the visual style reminded me a lot of Spring Breakers.
  20. But would that make the conflict morally ambiguous or would it make turn the audience against Daemon instead?
  21. I can definitely see Aegon throwing his brother a huge party, calling him a badass etc. I'd be interested to see if this provides a genuine bonding moment between the two before the events at Rook's Rest make Aemond revert back to wanting to be king. Not that I disagree with you, but I was under the impression that @Rockroi was referring to his lack of confidence due to his inexperience in dealing with such matters which is in turn due to his age. The actor's performance gave off the feeling that, internally, the Luke had to keep reminding himself of what he should do/say and keep the promise made to his mother as, again, he's not a natural at this. This portrayal is very consistent with how "a little kid" who is really trying would approach the situation.
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