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Post by Billy_Costigan on Dec 27, 2019 20:43:39 GMT
Since this is a no spoiler thread, are we getting a different spoiler thread? Because holy sh!t.
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Post by DeepArcher on Dec 30, 2019 3:34:22 GMT
The Safies are, I think, second only to Scorsese in terms of directorial achievement of the year ... what they achieve here is absolutely incredible, the way that they so masterfully create and accelerate tension within nearly every individual scene of this film is just remarkable. The dialogue mixing is of course perhaps the biggest part of that, the overlapping voices that get increasingly cacophonous ruthlessly builds anxiety like nobody's business. The purely loud New York energy of this film is astonishing, even better than it was in Good Time. The Safdies render scenario by scenario with absolute brilliance, and if there's any real shortcoming here it actually might be in the screenplay ... which is forgivably messy (as others have noted, its appropriate for the film) but also the plot is just kinda confusing at times, which I haven't really seen many people comment on before so maybe it's just me, but there were a few times where I just struggled to keep up with it or straight-up didn't know what was happening. But I do think that might have been part of its intent and it's also a big part of its appeal, joins the ranks of other 2019 films Parasite and The Lighthouse of films that thrive in keeping you always in a state of never really know what's going on and having no idea what's about to happen next.
Sandler is fucking sensational, and the thing that this film helped me realize is that all of his "serious" roles basically just have the same energy as your average Adam Sandler comedy but in a "what if it was imagined by this auteur?" way ... and Uncut Gems really just a screwball Sandler comedy by way of the synth-powered, neon-lit style of the Safdies. It's such an audacious and ridiculous energy that permeates the entire film, and if you groove with the absurdity of it all you'll love it like I did. It's exciting, enthralling -- but also remarkably relaxed and comedic for so much of its running time, an improbably wonderful blend of tone, genre, etc. that just works like gangbusters. Daniel Lopatin's cosmic score is just gorgeous, Darius Khondji's cinematography is magnificent, the editing keeps up with the frenetic pacing absolutely perfectly, the sound design is absolutely legendary ... just an impeccable achievement across the board. The ending will linger in my mind for a LONG time. Goddamn.
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erickeitel
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Post by erickeitel on Dec 31, 2019 2:59:57 GMT
Since this is a no spoiler thread, are we getting a different spoiler thread? Because holy sh!t. The no spoilers was just because I saw it back in October and didn't want to spoil it for those who hadn't seen it. But we could always use the spoiler function, you know.
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Post by Ryan_MYeah on Jan 3, 2020 2:26:34 GMT
Traced down some thoughts on this one. Oh, and Yay for Tilda Swinton’s voice!
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Film Socialism
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Post by Film Socialism on Jan 3, 2020 5:07:38 GMT
it's good but hope the safdies go more low key bc this isn't a good turn for em
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AKenjiB
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Post by AKenjiB on Jan 12, 2020 22:57:27 GMT
Fantastic! This honestly might be the funniest Adam Sandler film I’ve ever seen.
Love the sound work. The club music is loud so people have to shout, everyone’s talking over each other, and there’s almost always something in the background. Every single conversation feels authentic. There’s plenty to praise about Sandler obviously but there’s not a weak performance in sight (as expected from the Safdies, the film features naturalistic performances from several non-actors). But yes, this is Sandler’s movie, and similar to Punch-Drunk Love, it’s impossible to imagine anyone else in the role.
At least equal to Good Time and I’m really excited to see what the Safdies do next!
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Post by Tommen_Saperstein on Jan 12, 2020 23:43:28 GMT
Love the sound work. The club music is loud so people have to shout, everyone’s talking over each other, and there’s almost always something in the background. Every single conversation feels authentic. There’s plenty to praise about Sandler obviously but there’s not a weak performance in sight (as expected from the Safdies, the film features naturalistic performances from several non-actors). But yes, this is Sandler’s movie, and similar to Punch-Drunk Love, it’s impossible to imagine anyone else in the role. YES! Glad someone else noticed the sound design. It really helped the film achieve that anxious tone, and it stands out so much because not a lot of films do that, where you have all these anxious characters in frame and talking at the same time and the directors incorporate it into the sound so aggressively like that. The Safdie's accomplish that on all fronts with the elements here--performances, editing, everything--but I don't think the sound mixing is being given enough credit for how it played into that.
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Post by DeepArcher on Jan 12, 2020 23:52:28 GMT
Love the sound work. The club music is loud so people have to shout, everyone’s talking over each other, and there’s almost always something in the background. Every single conversation feels authentic. There’s plenty to praise about Sandler obviously but there’s not a weak performance in sight (as expected from the Safdies, the film features naturalistic performances from several non-actors). But yes, this is Sandler’s movie, and similar to Punch-Drunk Love, it’s impossible to imagine anyone else in the role. YES! Glad someone else noticed the sound design. It really helped the film achieve that anxious tone, and it stands out so much because not a lot of films do that, where you have all these anxious characters in frame and talking at the same time and the directors incorporate it into the sound so aggressively like that. The Safdie's accomplish that on all fronts with the elements here--performances, editing, everything--but I don't think the sound mixing is being given enough credit for how it played into that. I mean, I’m fairly certain that this aspect of the film has (rightfully) been the most praised thing about it, other than Sandler I guess. It’s fucking brilliant — it’s all anyone’s talking about! Maybe it’s just hard to hear some of us over everyone else’s voices, lol...
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Post by DeepArcher on Jan 12, 2020 23:58:49 GMT
Also I gotta say, this movie gets better and better the more I think about it. Been dying to see it again though at this rate I’m not sure I’ll be able to in theaters. Just such an energetic, quotable, and chaotic class, equal parts fun and masterful and whenever it comes into my mind I just obsess over it. One of those rare movies where I feel like I remember every individual moment and I just cherish all of ‘em. A lot like Parasite this is a film I could see myself watching again and again for years.
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Post by Deleted on Jan 13, 2020 7:27:00 GMT
Uhhhh Julia Fox has one of the best asses I've ever seen in my life, Jesus Christ Pretty great movie about addiction.
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Post by mikediastavrone96 on Jan 13, 2020 13:38:36 GMT
I was biting my knuckle during the whole second half of the movie only for my jaw to hit the floor at the ending.
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Post by stinkybritches on Jan 13, 2020 16:44:24 GMT
saw this and Little Women yesterday...it's the "worst" Safdie film I've seen though still quite nice. but yeah, gimme Good Time any day over this one. would like to see them step back from the crime thriller thing tho.
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Post by DeepArcher on Jan 16, 2020 20:58:20 GMT
God, I fucking love movies.
I went and saw this again today (it had been beckoning me back since the first viewing!), and it somehow hits even harder on second viewing. I had an even more visceral reaction to it the second time around, it’s one where the unexpected now being expected almost makes the tension all the more breathtaking, my body was wound up for the entirety of the running time while my mind was continuously enthralled. The kind of movie that’s so good it just made me cry at points and left me with a huge dumb grin on my face and bursting with adrenalin all while clutching my hands around whatever I could grab just to release the tension.
Not only is its energy remarkable, but it really is such a tragic depiction of Howard’s addiction, how he keeps pushing to reach that next high even when it’s totally irrational, and how his behavior just devastated the people around him, right down to his own children, the oldest of whom is already picking up on his nasty habits (something I didn’t even catch the first time). Just note how many random faces keep popping up in Howie’s life, demanding something back from him, and we’re left just knowing that these are all of the people he’s wronged and stepped on just to keep pushing towards the next big win. The supporting cast is incredible and so authentic in that way the Safdies are so masterful at capturing, Julia Fox and Kieth William Richards are the standouts there to me, but it’s the Sandman’s show and his performance is just so colossal and unexpected and absolutely brilliant. He just fills the entire screen with his unfiltered obnoxious New Yorker energy and goes for broke with 1000% commitment the entire damn time, that rare performance that’s so good it contains an entire career within it that couldn’t have been played by any other actor, even if it wasn’t played by the actor you ever would’ve expected.
This year doesn’t have a particularly great depth of quality films, but its S-tier is absolutely fuckin’ insane. One of the best films of the decade right here.
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Post by DeepArcher on Jan 16, 2020 21:00:53 GMT
I really wish that Horny old pilot was one of the gangsters and got everything in the end Yeah, the first time I watched it that’s exactly what I thought was happening. Still kinda wish that’s how it ended, lol.
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Post by DeepArcher on Jan 16, 2020 22:39:18 GMT
Also, this is a thing:
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morton
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Post by morton on Jan 17, 2020 5:01:39 GMT
I really wish that Horny old pilot was one of the gangsters and got everything in the end Yeah, the first time I watched it that’s exactly what I thought was happening. Still kinda wish that’s how it ended, lol. Although Sandler made Howard someone you can't help rooting for, for some reason. And even though he had an gambling addiction, I knew he was going to wind up dead anyways, so I honestly felt worse for his brother in law and wished that he had got a win. Not the goons he hired of course, but there's Howard with everyone always being charmed by him his hot mistress that loves him for some reason, his kids, and even his father in law puts up a lot of money when Howard asks him too all the while talking bad about Arno. Of course before the final bet, I was hoping that maybe Howard could make it out alive, but even though he's got an addiction, I was like, "wtf man! Are you f*cking stupid? I hope they kill you now." What a stupid bet that kept me holding my breath trying to think back to if the Celtics won that game, lol. Then when they won I was hoping that either Julia would pull a Jackie Brown type of thing where she ran away with the money, or that the pilot would get it.
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Post by Viced on Jan 17, 2020 20:17:17 GMT
I'd say it's 80% great and 20% underwhelming. It's both a thrilling and exhausting experience... but to me, it feels like a movie that should max out at like 100 minutes. A few scenes were duds (wtf was the point of opening with a colonoscopy? Just to put the possibility of Howard having cancer in the back of our minds? Dumb. The hiding in the closet scene sucked too...) and some scenes went on way too long. But the main problem for me was the ending. Keeping them locked in the cage was sooooooo damn stupid. And the fact that the hired goon killed him and not Bogosian really pissed me off. I thought Bogosian was a very strangely imposing figure in the movie, and he gets whacked by his underling like fucking nothing. I thought winning the crazy bet and getting shot in the head was a somewhat unique way for things to end up (since I had the ending for every other gambling movie I've seen in the back of my mind for most of it), but the whole thing with the cage and hired goon with rage ( ) just pissed me off. Sandman is great and carries the hell out of it... but he definitely hit me harder in The Meyerowitz Stories. Judd Hirsch and Idina Menzel were both strong in limited screentime... wish they both had more to do. But after all that bitching, I definitely liked it a lot. Music was interesting and Darius Khondji delivered too. 7.5/10
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Post by mikediastavrone96 on Jan 18, 2020 0:01:00 GMT
Has no brought up how in the end those goons are completely trapped and doomed to either get arrested or die because of the stupid decision to kill Howard right then and there? Thought that irony really tied everything up rather nicely.
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Post by Mattsby on Jan 23, 2020 0:25:54 GMT
thenewbev.com/program/february-6-uncut-gems-the-object-of-beauty/Tarantino has paired Gems in a double bill with The Object of Beauty ('91) Who could've guessed that? Outta all the movies. Interesting pick and that movie deserves attention (I know pacinoyes has seen it - and I think I've told @tyler it's a must for Andie fans) Both playing in 35mm, post-screening Q&A with Safdies
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The-Havok
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Post by The-Havok on Jan 31, 2020 11:48:33 GMT
So uhhh this just got released on Netflix and it was fucking perplexing. What a way to go on the new decade. And Julia Fox is like the even hotter American version of Rachel Weisz. Talk about a sex symbol for zoomers
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The-Havok
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Post by The-Havok on Jan 31, 2020 11:57:43 GMT
Fantastic! This honestly might be the funniest Adam Sandler film I’ve ever seen. Love the sound work. The club music is loud so people have to shout, everyone’s talking over each other, and there’s almost always something in the background. Every single conversation feels authentic. There’s plenty to praise about Sandler obviously but there’s not a weak performance in sight (as expected from the Safdies, the film features naturalistic performances from several non-actors). But yes, this is Sandler’s movie, and similar to Punch-Drunk Love, it’s impossible to imagine anyone else in the role. At least equal to Good Time and I’m really excited to see what the Safdies do next! Yes this is like a Baumbach film with testosterone
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The-Havok
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Post by The-Havok on Feb 1, 2020 16:13:43 GMT
Also, am I the only one who thinks this could have been benefited from the one take gimmick given the intensity and anxiety surrounding the movie? Or is that way too implausible. I mean it did reminded me a but of Birdman at times
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Post by ibbi on Feb 1, 2020 17:13:15 GMT
Also, am I the only one who thinks this could have been benefited from the one take gimmick given the intensity and anxiety surrounding the movie? Or is that way too implausible. I mean it did reminded me a but of Birdman at times Considering it takes place over so many days that would have to be REALLY gimmicky, and that would probably just be an unnecessary distraction. A movie like this is testament to the fact that the idea of one take upping intensity and anxiety or dropping you in there with the characters more is a load of balls, and shooting and editing it the right way is all you need to ratchet heart rates up to that degree.
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Post by stephen on Feb 1, 2020 17:15:12 GMT
Also, am I the only one who thinks this could have been benefited from the one take gimmick given the intensity and anxiety surrounding the movie? Or is that way too implausible. I mean it did reminded me a but of Birdman at times It would've been insanely hard to do that considering the final sequence involves jumping back-and-forth between Fox and Sandler, but it would make a hell of a stage play, I think.
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Post by JangoB on Feb 2, 2020 21:36:45 GMT
Best end credits song choice of 2019? I think so.
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