New comments cannot be posted and votes cannot be cast, News & Discussion about Major Motion Pictures, Press J to jump to the feed. You are welcome to love the movie, but I see it more as yet a yarn spun on the classical Heroes Journey formular. since. Furthermore, I wrote a couple of articles focused on the technical aspects of 1917. And that’s a definition of art that on Oscar night I predict will ring hollow. Link to trailer: https://www.youtube.com/watch?v=YqNYrYUiMfg. save hide report. The tragedy of war? And you just know he’d uncork one memorable rambling motherf—er of an acceptance speech. Or at least a movie that’s engineered to play like it’s all one shot. That sounds, to me, like an Oscar night that would leave everyone high. The sound was by far the greatest highlight of the movie. Yet what we can’t know is whether this year’s Oscar landscape would have looked different if “The Irishman” had been released by a conventional studio, in theaters only — and had played in several thousand of them. Is it genuinely on a par with the war films that have taken the Academy Award for best picture (“Platoon,” “The Hurt Locker”), or the one that should have (“Saving Private Ryan”)? Not much, unlike its contemporaries. But to what end? Personally I would have loved to have a few more characters to identify with instead of the two we got. It’s time, this year, not just to honor Tarantino but to let those of us in the audience acknowledge the love we have for him. That's what you had in WW1. All three films are nominated for Best Picture, but "Marriage Story" director Noah Baumbach missed out on a Best Director nod. Only one, I suspect, will leave you with that sinking feeling. “Roma,” as lionized as it was, was a staid coffee-table book of a movie. Everyone is saying how great 1917 is, but for me it was really boring. Why 'Joker' deserves its 11 nominations and should win Best Picture, 7 BAFTA winners that don't deserve their awards — sorry, Why Oscar-nominated 'Jojo Rabbit' is the film we need right now. It’s the movie that touched the most electrifying chord with audiences. Does anyone else feel the same way? Many Academy voters are not Netflix true believers; they’re far more protective of what their industry has been. Those directors, and many more, all displayed a complete control of tone, displayed their own style, and executed their vision to five-star reviews. But take away the one-shot trick and what does the picture have left? So that’s neither a strike for it nor against it. to cover up its absence of revelation? Again, the technical work here in "1917" (Deakins in particular) is nothing short of excellent and I have no complaints about the film winning Best Cinematography, which it inevitably will. Yet even after the early accusations that it was a film liable to incite violence proved unjust, and after it was demonstrated beyond doubt that the movie spoke to humans of every gender, race, and age group, the aura of media condemnation that surrounded “Joker,” all based on the suspicion that it was some sort of “incel manifesto” (i.e., a revenge fantasy for angry white males), has left the film’s triumph with a few scuff marks. I actually thought the story was subpar and the pacing was horrible. It is a missed opportunity to reward something we've never seen before at the Academy Awards, like the singular comedy "Jojo Rabbit" about a young boy befriending a Jewish girl while grappling with his imaginary friend Adolf Hitler, or a superhero movie-come-character-study in "Joker," or the genre-defying "Parasite. Whether it’s a tripwire moment that provokes an audible gasp, a distant dogfight segueing into up-close-and-personal horror, or a single gunshot that made me jump out of my seat during an otherwise near-silent sequence, there’s no doubting the film’s theatrical impact. For his latest movie – an awards-garlanded first world war drama that has already won best picture honours at the Golden Globes – Mendes has returned to the lure of the “one-shot” format, this time stretching it out to feature length. 1917. “Forrest Gump” probably wouldn’t have struck some of us as such a regrettable choice if it hadn’t taken the award from “Pulp Fiction.” Flipping the equation, a movie like “Braveheart” conforms more than it doesn’t to the standard rote narrative of Oscar quality, but I can’t look at the perfectly okay movies it was up against — “Il Postino,” “Babe,” “Apollo 13,” “Sense and Sensibility” — and claim that the Academy was so wildly off that year. Alfonso Cuaron's "Children of Men" and Alejandro Gonzalez Inarritu's "Birdman," both used the one-take technique to enhance the subject rather than have that technique be the subject. Tarantino has never won best picture or director (though he’s won twice for screenplay), and given that OUATIH will be his second-to-last film, and that it’s an inside Hollywood saga that hit the sweet spot with critics and audiences, the stars seem to have lined up to finally give him the grand prize. You can spend time in one of the most realised and detailed worlds in a film this year in "Once Upon a Time in Hollywood." And you just know he’d uncork one memorable rambling motherf—er of an acceptance speech. True, it didn’t win the powerful Screen Actors Guild award for best cast (that group’s equivalent of best picture), because it wasn’t nominated, because it doesn’t pretend to boast that level of ensemble cast. Read Next: Taraji P. 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Poor Ted Sarandos! Are we really going to pretend that he’s great but that the film he dominates in every frame is somehow disreputable? So that’s neither a strike for it nor against it. Many Academy voters are not Netflix true believers; they’re far more protective of what their industry has been. Maybe if it wasn't so slow I wouldn't have fallen asleep. Again, the over-reliance on the technical robs the movie of its potential heart. It would, in effect, be an award for all the ways Quentin Tarantino changed movies, rocking the indie world — and, ultimately, mainstream Hollywood — with his lightning-charge aesthetic of live-in-the-moment storytelling. Throughout this Homeric odyssey, Thomas Newman’s pulsing score ratchets up the tension, travelling “up the down trench”, through the body-strewn carnage of no man’s land (a forest of wood and wire, bone and blood) and into the eerie environs of deserted farmhouses and bombed-out churches. Parasite. dont watch it with thinking its a war movie tho. It's hard to really get emotional, even when they showed otherwise strong performances by almost the entire cast. © Copyright 2020 Variety Media, LLC, a subsidiary of Penske Business Media, LLC. Netflix/Warner Bros. Pictures/Sony Pictures Releasing. For the opening of his 2015 Bond movie Spectre, director Sam Mendes (who won an Oscar for his first feature, American Beauty) mounted a memorable sequence set amid Mexico City’s day of the dead festival.

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