#oscar movie review

[filmloversociety]

Barbie (2023) + letterboxd reviews (from letterboxd instagram)

[hsboo03]

Yesterday I saw Robot Dreams, it was a beautiful experience, it simply portrays something as beautiful as first love, loss, grief, overcoming and the ability to love again without losing the memories of the one we once loved, simply beautiful. With you a little drawing of the real couple. Rascal is the standard. 🍓🏵️🌺🌷

My thoughts are with you ☀️

Holding hands with your heart to see you ❤️‍🩹❤️‍🩹

Only blue talk and love 💫

Remember, how we knew love was here to stay 🪼🌸🌷🌺

[laflamejpeg]

Photo Stills From One of My Favorite Movies of All Time “Waves” (2019).

[scribble-dribble-writes]

I was reading reviews about how everything everywhere all at once was incredible and how it makes you cry because of a rock with googly eyes and I thought to myself that I was the one who was going to prove this theory wrong. That I will watch it and not be impacted by it.

Let me tell how incredibly horrendously astronomically wrong I was, because I sobbed like a tiny baby

Even more so I hugged my mom and I cried with the sudden realization of time and that in any universe I will take the one I am in now, whatever specks of time it affords

The bloody googly eyes rock and sweet sweet Waymond, I couldn't finish it without crying and in the end I felt like my mind was understood but I was also calmed by it.

That I can have everything be everywhere, all at once. Because that means I'm living in the present for it to happen. I saw the movie at the right time and I want it so badly to win best picture because no other movie in the last year can compare to the sheer chaos and art and understanding it made me feel in two and half hours.

A movie of a lifetime 👀

[askmovieslate]

Jamesy: In all honesty though, it's great that it won so many.

Movie Slate: Weren't you bitching and moaning about the Oscars being stupid a few weeks ago?

Jamesy: Yepp!

Movie Slate: You make no sense!

Jamesy: And if it hadn't won any Oscars you'd be seeing me all mopey and upset, that much I can guarantee.

Movie Slate: Ugh, see the shit I have to put up with Goji?

[thefoxinator]

I’ve never really been a fan of ‘candy cane’.

AROACE KING 👑

[iolaussharpe-24]

I've realized something.

Brian Petsos movies don't have a lot of fans. Oscar Isaac fans like his characters in Brian Petsos movies. We don't talk about Revenge for Jolly!; we talk about Cecil. We don't talk about Ticky Tacky unless we're praising Lucien and/or comparing/connecting him to Anselm. We don't talk about Lightningface; we talk about how pathetic Basil is and compare him to Steven Grant. We don't talk about Big Gold Brick unless it's to bash it, talk about the cast, and obsess over Anselm. I didn't think this at first, because I just assumed I was the wrong kind of viewer for Petsos projects (I previously mentioned that they kind of reminded me of Jim Jarmusch movies), but the more I've looked around online at reviews and discussions, I've been finding this pattern of negativity. It seems like everyone just kind of agrees that Brian Petsos doesn't really make good movies, but Oscar Isaac makes them worth seeing at least once. And, yes, I am aware that there are things Petsos has done without Isaac, but when you search 'Brian Petsos' the first things that come up are the ones that Oscar Isaac is a part of. This includes The Letter Room, which was written and directed by Elvira Lind but Petsos does have a part in solely as an actor. Even on his IMDb page, there's little to nothing about him but half of the available information is, and I quote, "frequently works with Oscar Isaac". In my opinion, that's pretty telling on it's own. I'm not trying to be mean here, I just think this is kind of an interesting thing to note. If you disagree, please let me know. I'd be happy to debate this. Personally speaking, I've watched Revenge for Jolly!, Ticky Tacky, Lightningface, and a tiny bit of Big Gold Brick. (For the record, I know that Petsos didn't direct Revenge for Jolly! but he wrote and starred in it.)

One thing I will say in Petsos' favor: There's very clearly a lot of genuine passion and love in his work and it does show. Interviews with him, the proud displays of nonsensical strangeness, and the fact that he's able to keep making movies all reflect that. You can tell that the people involved are having fun and I think that's the most important part. I think his weakness (to me) is that his projects feel like they lack something. Revenge for Jolly! didn't feel like it was going anywhere for most of it's runtime. Like it wanted to be and do something but didn't know how. It had fairly decent moments... in the first half. But those moments only landed out of shock value, and they very quickly became predictable. (Also, what was up with that bar scene?) Ticky Tacky and Lightningface felt flat. Like bread that didn't rise. Maybe they needed more time to really explore their premises and characters. Like, if we saw Lucien and Claire together before he finds out about the cheating, or if we get to know Basil before the lightning strike. Both of these are about people going crazy, but without that sense of who they used to be, it doesn't really hit that hard and leaves you wondering 'what the hell did I just watch and why?' This is one thing I think Revenge for Jolly! understood, because we get to see Harry, Jolly, and Cecil before the inciting incident of the movie. We get a sense of their relationships with one another. I can't speak for Big Gold Brick because I haven't seen it in full so I'm not going to bother saying anything for the bits I saw either. That's just not fair for anybody.

[tentavite]

hi what the FUCK. the taste of things. absolutely incredible film i’m copy/pasting my letterbox review here because this movie was cathartic and beautiful and has me drawn and quartered:

unleashed a millennia old torrent of raw emotion so deep in me that i couldn’t even identify what the emotion was. cried so hard for reasons beyond my understanding. oui oui baguette etc
one of the most beautiful films i’ve ever seen
so intimate that looking back up into the characters’ faces after reading the subtitles felt almost like an invasion

in other news saw the film in a cinema rented out entirely by elderly folk and the whole room was filled with the most salacious sounds every time a pot was on screen

in other other news the moment in which dodin moved his apprentice’s tiny bird after she placed it on top of the cloth instead of in the broth made me openly sob. no words no discipline simply silently moved the bird while she watched. and then she mimicked him. by jove i was in hysterics

tran anh hung my boy……….thank you

[maryrouille]

Poor Things (2023) dir. Yorgos Lanthimos

Yesterday I watched this movie for the first time, and tonight it won Oscars for the best actress (Emma Stone), production design (Shona Heath, Zsuzsa Mihalek, James Price), makeup and hairstyling (Mark Coulier, Nadia Stacey, Josh Weston), and costume design (Holly Waddington). Such a premonition!

I'll leave an excerpt from a great review by Jakub Popielecki here:

Someone asked whether Lanthimos made a feminist or misogynist film. The sequence when Bella emancipates herself in a brothel, reading socialist leaflets between visits to subsequent clients, can be understood in two ways. It's either a manifesto of proudly taking control of one's sexuality - or a male prostitution fantasy, an excuse to undress Emma Stone in front of the camera. I would rather choose the first option. Let us remember: "Poor creatures" are Lanthimos's "Frankenstein".

[tinyreviews]

Movie Review: American Fiction 2023. Sarcastic wit. Hilarious punchline. Must Watch!

I gave this movie a pass at first. But the hype from the Oscars made me watch it and I enjoyed this movie a lot! For a comedy, it dealt with quite a lot of serious topics. The last act is kinda messy but the punchline hit right.

It’s a clever story. The structure is clever. The characters are clever. The dialog is clever. The ending is hilarious. MUST WATCH!

Did you find the movie (and dialog) clever? I like the sister, Lisa, a lot!

American Fiction is a 2023 American comedy-drama film written and directed by Cord Jefferson, in his feature directorial debut. Based on the 2001 novel Erasure by Percival Everett, it stars Jeffrey Wright, Tracee Ellis Ross, Issa Rae, Sterling K. Brown, John Ortiz, Erika Alexander, Leslie Uggams, Adam Brody, and Keith David.

[soft-persephone]

Ex-Machina Review

!!!Spoilers!!!

Nathan Bateman, is a fucking asshole.

I love it.

There’s a lot of “theories” about this movie, but I have my own interpretation.

Narcissism and God complex aside, yeah he has those things, but Caleb is a driving point for how we see him.

I do not think Caleb is a robot or AI.

But he was losing his mind in the end.

Nathan may be an arrogant asshole, but he wasn’t wrong or lying to Caleb about AVA. Like he might have lied about the experiment, but for that to work he would need someone gullible and perhaps with no family, because let’s be honest, if the test worked, Caleb was not going home 😭 (homeboy was going to end up like the people who installed the generator)

Ava had Caleb eating out the palm of her hand. He fell in love her and she just wanted to leave.

Nathan is the only man smart enough (from what the movie tells us) to make this cutting edge AI, but no matter how many prototypes he builds, at some point they are going to feel like they are being held captive if they gain a conscience.

He can’t let that shit out in the world until they chill first and accept that they are an AI and can’t have normal life until xyz.

Either way, the end result of “what next” if they passed his test is going to be fucked up no matter what.

That robot feels like a person and can’t have a or al life and they are obviously going to want one.

So in my opinion, the movie sets up Nathan as a fucked up god figure held captive not by his intellect but also his creation.

He had to baby sit these fucking robots and hope one day they won’t try to escape him or worse (how the movie ended).

He obviously isn’t a god, but asshole rich geniuses tend to be arrogant and self absorbed in some way. Like, yes, you are a super genius and no one can do what you do, but let’s cool it with the God comparisons.

The movie only ended with his death because Ava turned Caleb against him.

I think he knew that was going to be the end result.

“Caleb wanting to help Ava.”

But he didn’t plan on Caleb losing his fucking mind. Because that’s what turned everything to shit.

But now let’s talk visual language, and meta shit.(my favorite🥰)

Domhall Gleason is obviously taller than Oscar Isaac, but this movie put a lot of emphasis on it.

On top of that, Nathan works out a lot.

Caleb is taller and he’s also pretty smart. But he’s also a gullible dumbass. That’s what feeds into the evil narcissist narrative to get us to think Nathan is the “villain” befor the big twist.

But CLeb just keeps feeding into it. He calls him a hod and kept doing stupid shit for Nathan to correct him.

Nathen isn’t suspicious, Caleb was just suspicious of Nathan.

I also think Nathan is the type of man where being smart isn’t enough. Taking, care of his body as well as being smart, makes him more “superior.” It feeds into his god complex as much as his intellect.

He also likes to subvert expectations of super smart scientist.

He’s not some frail absentminded professor in a lab coat.

He’s a weightlifting, dance loving, dude that likes to kick back with a few drinks. He likes to talk the shit and have a good time.

But also he lived alone for many years with an AI robot to fuck from time to time and sometimes dance with.

Good chance his workouts and hikes are for his mental health.

Nathan is an asshole, but he’s not a villain.

At the end of the day he’s making and testing something.

He killed those generator guys, and I think at the end of it all, he was going to kill Caleb too. NDA or not.

He chose a kid with no friends or family for a reason.

He’s making a product that needs getting and manipulated someone for the best results.

He likes to be In control of everything and aware of every possible outcome.

While the lying might have been wrong, it is the best way to test his AI. Like it makes sense not in a crazy way.

I think Nathan is more callous/sinister than evil or cruel.

I think Caleb was buying into Ava so much, and since the movie is from his perspective, it can convince the audience he is a villain of sorts.

Thank you for making it to the end of you did. I hope you enjoy my word vomit of the movie I enjoyed!

[pricelesscinemas]

[laflamejpeg]

The Cinematography Within the Award Winning Film “Moonlight” (2016).

[howifeltabouthim]

Saltburn: Bonkers, Balls-to-the-Wall Brilliance

It would be no exaggeration to say that Saltburn is the craziest film of the year. I've never seen anything quite like it; it's distinctive in the best possible way, even while being rich with references to other iconic works. Emerald Fennell's sophomore feature is an exploration of class differences and a comedy of wickedly bad manners. It also morphs into a surprising, devilish thriller. It's the kind of film where you can’t look away, even when (perhaps especially when) you can’t believe what you’re seeing onscreen.

Saltburn begins with Oliver Quick newly arrived at Oxford. He's a fish out of water on campus as a scholarship student. He comes from the wrong background, he doesn't wear the right clothes, and he doesn't possess the right affect to fit in with the posh students that surround him. When he does a kind turn for Felix Catton, the popular student he's admired from afar, things start looking up and he's ushered into a world of partying and camaraderie. That summer, Felix invites Oliver back to his family estate, Saltburn, and things escalate amid decadence, debauchery, and class tensions.

Saltburn is a lush cinematic experience, composed of fresh, original, shocking images. So many shots feel like discrete works of art, the kind that wouldn't seem out of place in a gilt frame on some illustrious wall, reminiscent of the artistry of Kubrick's Barry Lyndon. At the same time, they all meld together to comprise a masterpiece. The startlingly potent sensuality practically drips from the screen, catching one up in a fever dream of desire and deviancy.

Barry Keoghan plays Oliver, and really proves himself as a leading man. I’ve been following Keoghan’s career with intense interest since his one-two punch of Dunkirk and The Killing of a Sacred Deer in 2017. And boy, is he realizing his potential. He blew me away with his heartrending performance in last year’s The Banshees of Inisherin. He excels at the humorous and the harrowing, sometimes in the same scene. He’s the kind of actor who can genuinely make you laugh and break your heart. He goes all in. You feel his pain, and I know I find myself rooting for his characters even when I probably shouldn’t.

My favorite kind of performance is an unhinged performance, and Keoghan delivers an all-timer in that category. His Oliver is comparable to Mia Goth’s turn in last year’s Pearl, for sheer emotional and eccentric abandon. The extreme emotion and behavior Keoghan exhibits as Oliver is thrilling to watch. Saltburn is such a great star vehicle star for this highly unique, unusual performer who has really been given his time to shine. He commands attention and the camera captures him perfectly here: his intensity and subtlety and those arresting blue eyes. Keoghan is a truly fearless performer. If there's any justice, he'll be nominated for an Oscar for this incredible performance.

This is a great ensemble cast, which includes Jacob Elordi as Felix and Alison Oliver as Venetia, Felix's sister. Carey Mulligan provides a disarmingly sweet and funny turn in a small role. Paul Rhys is chilling as Saltburn's imperious butler. Archie Madekwe is deliciously vicious as Felix's snobby cousin, Farleigh. Richard E. Grant is on point and hilarious as the Catton patriarch. Besides Keoghan, I felt Rosamund Pike was the standout and that this was her best role to date. The part of Elspeth Catton, lady of the manor, seemed tailor-made for her. Saltburn definitely deserves to be nominated for a SAG for Outstanding Performance by a Cast in a Motion Picture. The actors all play off each other beautifully.

I’m in awe of writer/director Emerald Fennell’s artistry and uncompromising vision. I love how she lets scenes go on uncomfortably long sometimes (like in the infamous climax of Promising Young Woman) to get her point across. She’s not hemmed in by conventions of how long a disquieting scene “should” go on. She doesn’t compromise for anyone or adhere to conventional tastes.

Saltburn is told through a great framing device of Oliver recounting the events of his pivotal year at Oxford and Saltburn to an unknown listener. It keeps you guessing as to who he's relaying this tale to. There are echoes of Wuthering Heights, Brideshead Revisited, The Go-Between, and Call Me by Your Name. In other words, timeless stories that will always resonate in the culture for good reason: they’re primal and get to the heart of the human experience. Yet Fennell's narrative veers in wholly unexpected directions. To watch her pull off the trick of this narrative is a privilege indeed.

Saltburn is a sterling example of bold, unapologetic filmmaking. Emerald Fennell is a cinematic visionary and a canny provocateur. And in case all this rhapsodizing wasn't enough, just know that this movie is HOT. It's fierce and feral and it demands to be seen. Viewers are in for a sick and sexy thrill ride. It's disturbing, deliciously demented, devious, nasty, and wonderfully messed up. Please go see it in theaters: let’s help wild, invigorating, conversation-starting cinema continue to get made and theatrically released.

[askmovieslate]

Movie: Oh wow, he's still going.

Chelicera: I haven't seen him this angry since we finished watching "Don't Look Up".

Movie: Do you think he needs an intervention?

Chelicera: Nah, I've learned it's better to let him burn out all this energy rather than stopping him.

Movie: Are you sure?

Jamesy: LEONARDO DICAPRIO ISN'T NOMINATED!? ARE YOU OUT OF YOUR STUPID MINDS!?

Chelicera: I sure am not going in there.

Movie: Fair enough.

[adamwatchesmovies]

Dune (2021)

Even upon a rewatch, 2021’s Dune: Part One is spectacular. The memorable, foreboding score by Hans Zimmer, the costumes that bring this world to life, the scale of the action and the unique sets, ship & weapon designs all come together to complement a story of mythical scale. After seeing this film, two thoughts start competing for your brain’s attention. 1) If Frank Herbert’s Dune was adapted this successfully, then no work is unfilmable and 2) the sequel can’t come soon enough.

In 10191, the universe is ruled by an Emperor who assigns the exploitation of planets to powerful ruling houses. Interstellar travel is possible through “spice” a substance found exclusively on the harsh desert planet of Arrakis. For 80 years, Baron Vladimir Harkonnen (Stellan Skarsgård) and his house have overseen the harvest of spice. Now, Duke Leto I (Oscar Isaac) of House Atreides is the new steward of Arrakis but only for as long as the flow of spice continues. This shift puts House Atreides, particularly the Duke’s son, Paul (Timothy Chalamet), in danger.

At 155 minutes, you’d think this movie would feel long, but it doesn’t. One of the reasons is that there’s a lot within to keep your mind busy. What’s a Freman? What’s a Kwisatz Haderach? What’s “the voice”? If director Denis Villeneuve tried to cram this story into 90, or even 120 minutes, it would move so quickly that all these questions would leave you in the dusty sands of Arrakis (that’s the planet, right?). By taking its time while moving at a good pace the film allows you - in time - to answer all of your questions. Since you understand what’s happening, you’re engaged. It helps that if you can’t remember what each name means, the visuals pick up the ball. The grotesque, scheming Baron Vladimir Harkonnen is clearly a villain. It's particularly obvious once you see his nephew, the psychotic and childish Glossu Rabban (Dave Bautista). You know you can’t trust the Bene Gesserit because their leader, Reverend Mother Mohiam (Charlotte Rampling) makes Paul take a painful, life-threatening test to prove he isn’t a threat himself. These are only a few of the many examples I could choose and they show how the story is both complex and easily digestible.

Even without the gripping story filled with backstabbings, political intrigue, violence, quests for revenge and harrowing struggles for survival, Dune would still have you tightly in its grip. Throughout, Paul’s psychic abilities give him visions. They foretell the future… sort of. They give hints of what’s coming but hints are not the same as clear answers. These all tie to this planet he’s on; a world that doesn’t end where the screen does. The details in the dialogue, sets and costumes make you wish the Harkonnens would just chill, and save their grudge for later. This way, you’d have time to see House Atreides befriend the Fremen and familiarize themselves with their customs.

There’s so much happening in this film that some of it you won’t “get” until later. For example, the early assassination attempt on Paul’s life. The would-be killer? A Harkonnen cutthroat, hidden in a bedroom wall. What kind of wealth, power and/or terrifying influence could persuade someone to take on that sort of assignment, knowing they would have to wait in darkness for weeks, slowly starving to death, just to kill a boy?

The passion within Dune is as clear as its ambition. You’re only getting half of a movie with it, but this choice feels like a necessity, rather than a Breaking Dawn-type of cash-grab or an attempt to start another franchise for a money-hungry studio. It certainly doesn’t feel presumptuous. Everything we see feels important; like it’s building up to not just one, but many bigger character arcs in a world that contains hundreds of stories. You know the threads that are left hanging will be tied up - that’s the kind of confidence all of the artists at work instill in you. Dune/Dune: Part One is a film that’s going to be remembered. (March 1, 2024)