The-Havok
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Post by The-Havok on Dec 17, 2018 20:56:43 GMT
I wouldn't trust Kyle Smith's review at all. He worked at Weekly Standard the same newspaper that would push Cheney's propaganda that got us into the war in Iraq. His review is biased as hell... He doesn't even endorse Cheney politics in that review.
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Post by therealcomicman117 on Dec 17, 2018 20:58:38 GMT
Reading some of these reviews, I'm actually pissed that some critics are unhappy that McKay isn’t going easy on a war criminal. Like seriously, what? That should not be a criticism. It's like people intentionally forget just how terrible the Dubya administration really was.
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Post by mrimpossible on Dec 17, 2018 21:00:25 GMT
I wouldn't trust Kyle Smith's review at all. He worked at Weekly Standard the same newspaper that would push Cheney's propaganda that got us into the war in Iraq. His review is biased as hell... He doesn't even endorse Cheney politics in that review. Yea he may say that now to cover his tracks... I'm not saying ignore negative reviews, just specifically his.
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The-Havok
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Post by The-Havok on Dec 17, 2018 21:01:45 GMT
He doesn't even endorse Cheney politics in that review. Yea he may say that now to cover his tracks... I'm not saying ignore negative reviews, just specifically his. Why specifically his? LOL, if he wrote for IndieWire or Huffington would you say that as well?
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Post by bob-coppola on Dec 17, 2018 21:04:34 GMT
From the reviews I've read, it seems like an actual movie that just pissed off people because of it portrays politics. It's one I'll have to see for myself to judge.
In a sidenote, if the BSA race turns out to really go: BFCA - King SAG - Blunt GG - Adams BAFTA - Weisz that would be wickedly good. Different award bodies choosing different people to reward is the spirit of the whole thing, plus it'd screw with everyone's predictions.
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Post by mrimpossible on Dec 17, 2018 21:05:13 GMT
Yea he may say that now to cover his tracks... I'm not saying ignore negative reviews, just specifically his. Why specifically his? LOL, if he wrote for IndieWire or Huffington would you say that as well? Nope. He worked for Weekly Standard around the same time it was the premier propaganda newspaper for neoconservative propaganda during the Iraq War. It's like trusting a Breitbart critic review on a Trump biopic...
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Post by wilcinema on Dec 17, 2018 21:06:55 GMT
From the reviews I've read, it seems like an actual movie that just pissed off people because of it portrays politics. It's one I'll have to see for myself to judge. Yep.
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The-Havok
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Post by The-Havok on Dec 17, 2018 21:10:58 GMT
Why specifically his? LOL, if he wrote for IndieWire or Huffington would you say that as well? Nope. He worked for Weekly Standard around the same time it was the premier propaganda newspaper for neoconservative propaganda during the Iraq War. It's like trusting a Breitbart critic review on a Trump biopic... He doesn't even go full pan like the Slate guys and other negative reviews do. He literally just deconstructs the false events portrayed in the movie and it makes them look like 'Barbie's recollection of the Bush administration: the movie'
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Post by RiverleavesElmius on Dec 17, 2018 23:49:30 GMT
It certainly would be the perfect place to reward Blunt, and it's a pretty good performance to boot. So much of it is silent, expressive work that may not be fraught with Oscar-friendly monologues, but she definitely goes through the wringer in it. Adams in Vice has been compared to her previous work in The Master in more than one review (and most of the time, the reviewer making the comparison favors the PTA performance), and combined with playing not just a divisive historical figure (who McKay seems to intimate is partly to blame for Cheney's demonic rise, judging by how some of the reviewers frame her storyline) but also starring in a very divisive movie . . . I think she'll have her devotees for sure, but I'm more convinced now that this isn't quite the winning role for her. I still don't think she wins BAFTA, BFCA may back King hard in response to her SAG snub (like how SAG sealed the deal for Elba when he missed the Oscar). The Globes may go with Adams because they like her and the film but she's already won twice with them, but if Vice continues to polarize on the awards trail, especially with early critical adulation simmering drastically during the embargo, I don't think she's anywhere close to a secure bet for the win. I also think that the Arrival snub generated the thought that she should be rewarded for the right role and not just for her perceived overdueness (which I still don't buy as a sentiment in the industry). She's a respected actress and she's proving herself to be versatile, but she's no Glenn Close and I still feel no urge in the industry to go for her no matter what. The Globes are an entirely different matter, and she also has a TV nomination where she could get the award.
Blunt is the unexpected party crasher in the category. The main problem for her is to actually get the nod. If she does (and indication of that will be the BAFTA nominations), all the other four will be in huge danger. Banner years have often worked (and the Blunt year kind of reminds me of the McConnaissance), and it could especially work with her, given that Stone and Weisz are previous winners, and King and Adams are on extremely shaky grounds for a win.
She has 5 nominations! That alone will make her seem "overdue" in their eyes. She's also VERY well-liked (as much as Blunt, if not more), is one of the most frequently working actresses of her generation and is also having a banner year. Plus, AMPAS will like VICE a lot more than the critics. A scorching takedown of Cheney?? Uberliberal AMPAS, where actors are the biggest voting block and the vast majority of that block have frequent Trump PTSD?? Yeah, I'd say she's the favorite. She'll need more than the Globe, though. A SAG win would 100% SEAL THE DEAL for her, and make BAFTA irrelevant. King will win the BFCA, but I don't think either her or Adams wins BAFTA. That's probably Weisz, who is definitely NOT winning a 2nd Oscar for this role.
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Post by Pavan on Dec 18, 2018 5:54:06 GMT
Seems like people are not happy with McKay's portrayal of Cheney as a cartoon villain.
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Post by Ryan_MYeah on Dec 18, 2018 6:10:41 GMT
Are we sure this isn’t retroactively acknowledging how middling The Big Short was?
And also, come on! I need this to do well for my fantasy league. Why does this always happen to me?
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wattsnew
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Post by wattsnew on Dec 18, 2018 6:34:39 GMT
This film sound absolutely incredible, with one of the greatest ensembles in years. Glad to see it is green on metacritic and is fresh on rotten tomatoes!
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Post by Pavan on Dec 18, 2018 6:47:09 GMT
Are we sure this isn’t retroactively acknowledging how middling The Big Short was? And also, come on! I need this to do well for my fantasy league. Why does this always happen to me?
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Post by Joaquim on Dec 18, 2018 8:30:24 GMT
Are we sure this isn’t retroactively acknowledging how middling The Big Short was? And also, come on! I need this to do well for my fantasy league. Why does this always happen to me? That makes 2 of us. Well damn
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Post by Pittsnogle_Goggins on Dec 19, 2018 0:51:14 GMT
I’m still predicting Adams to win supporting actress.
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Zeb31
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Post by Zeb31 on Dec 19, 2018 1:13:31 GMT
And also, come on! I need this to do well for my fantasy league. Why does this always happen to me? Imagine being a young child in 2015 taking part in your first ever fantasy league, choosing a team before the reviews are out for the Christmas releases, banking on the good word out of the first few test screenings, and winding up with a team that's comprised of Joy, Bradley Cooper, Robert De Niro and Isabella Rossellini. Ah, to be that age again. Thankfully the second time I gave the fantasy league a try I had Manchester by the Sea, Casey Affleck, Mahershala Ali and Isabelle Huppert. I finished about as far from the runner-up as I did from the second-to-last place in 2015.
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morton
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Post by morton on Dec 19, 2018 1:35:34 GMT
And also, come on! I need this to do well for my fantasy league. Why does this always happen to me? Imagine being a young child in 2015 taking part in your first ever fantasy league, choosing a team before the reviews are out for the Christmas releases, banking on the good word out of the first few test screenings, and winding up with a team that's comprised of Joy, Bradley Cooper, Robert De Niro and Isabella Rossellini. Ah, to be that age again. Thankfully the second time I gave the fantasy league a try I had Manchester by the Sea, Casey Affleck, Mahershala Ali and Isabelle Huppert. I finished about as far from the runner-up as I did from the second-to-last place in 2015. Joy brings back some memories. I remember all the madness over the test screenings, and PM'ing people who saw it or knew someone who saw it.
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Zeb31
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Post by Zeb31 on Dec 19, 2018 2:04:07 GMT
Imagine being a young child in 2015 taking part in your first ever fantasy league, choosing a team before the reviews are out for the Christmas releases, banking on the good word out of the first few test screenings, and winding up with a team that's comprised of Joy, Bradley Cooper, Robert De Niro and Isabella Rossellini. Ah, to be that age again. Thankfully the second time I gave the fantasy league a try I had Manchester by the Sea, Casey Affleck, Mahershala Ali and Isabelle Huppert. I finished about as far from the runner-up as I did from the second-to-last place in 2015. Joy brings back some memories. I remember all the madness over the test screenings, and PM'ing people who saw it or knew someone who saw it. All year we heard news that The Revenant went wildly over budget and over schedule, to the point where people started speculating that Iñárritu wouldn't be able to deliver it on time and Fox would push it back to 2016 to focus all their attention on Joy. Then it turned out that The Revenant had no trouble making its deadline, while every new test screening for Joy came back with completely different reactions, like each new cut was a radically disparate film. From "it's 100% a drama, De Niro and Rossellini have a big scene together that will easily get them both nominated" to "there's loads of humor, it's obviously a comedy and Rossellini has 5 lines of dialogue" in the span of two screenings. I remember the buzz switching and people beginning to predict that it was actually O. Russell who wouldn't finish in time and would need to push back to the following year. That whole season in general was pretty wild. Spotlight got good reviews out of Venice but pretty much everyone immediately wrote it off for Best Picture based on that first response; The Big Short debuted in the 60s on MC out of AFI and then steadily rose to the 80s as more reviews started rolling in, going from "I guess it's not a disaster?" to PGA winner and top 3 threat for BP; Room had one of the pundits (Tapley?) calling an early cut one of bottom 5 worst films they'd ever seen, then exploded out of TIFF; The Force Awakens went from not being a BFCA nominee for Best Picture to... being the BFCA's 11th nominee for Best Picture.
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rhodoraonline
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Post by rhodoraonline on Dec 19, 2018 2:06:17 GMT
I’m still predicting Adams to win supporting actress. Frankly speaking, I'm leaning a bit towards Blunt now given she gets nominated first. It would be deserving too ...
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morton
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Post by morton on Dec 19, 2018 2:46:05 GMT
Joy brings back some memories. I remember all the madness over the test screenings, and PM'ing people who saw it or knew someone who saw it. All year we heard news that The Revenant went wildly over budget and over schedule, to the point where people started speculating that Iñárritu wouldn't be able to deliver it on time and Fox would push it back to 2016 to focus all their attention on Joy. Then it turned out that The Revenant had no trouble making its deadline, while every new test screening for Joy came back with completely different reactions, like each new cut was a radically disparate film. From "it's 100% a drama, De Niro and Rossellini have a big scene together that will easily get them both nominated" to "there's loads of humor, it's obviously a comedy and Rossellini has 5 lines of dialogue" in the span of two screenings. I remember the buzz switching and people beginning to predict that it was actually O. Russell who wouldn't finish in time and would need to push back to the following year. That whole season in general was pretty wild. Spotlight got good reviews out of Venice but pretty much everyone immediately wrote it off for Best Picture based on that first response; The Big Short debuted in the 60s on MC out of AFI and then steadily rose to the 80s as more reviews started rolling in, going from "I guess it's not a disaster?" to PGA winner and top 3 threat for BP; Room had one of the pundits (Tapley?) calling an early cut one of bottom 5 worst films they'd ever seen, then exploded out of TIFF; The Force Awakens went from not being a BFCA nominee for Best Picture to... being the BFCA's 11th nominee for Best Picture. I forget exactly which movies someone said that Joy was as great as, but something like The Godfather and Citizen Kane or something like that. Too true about The Revenant too. The Leo fans like myself were all worried that they wouldn't get the screener out on time, and if he missed SAG then there was very little chance he'd win the Oscar. Plus, I know that I was waiting and a few other people at IMDb and other places kept waiting to see how Leo's competition was doing. Sometimes it seemed bleak like when many thought Miles Ahead was going to be an awards vehicle for Don Cheadle or before Steve Jobs bombed at the box office. Then, I think either when the first reviews came out or when Leo's last competitor went down (maybe Will Smith), we went crazy celebrating because we knew he was going to win. I remember predicting The Revenant in the final "what do you think will win Best Picture" poll even though The Big Short took PGA and Spotlight took SAG because it kept winning every place else, and I didn't expect Fury Road to become such a technical juggernaut on Oscar night. I'm still miffed that they didn't go ahead and award George Miller for Best Director since it was winning so many awards before that. Spotlight really underperformed most of the season until the Oscar nominations, so I was worried that it could really do it. I think that underperforming helped it in the end since there wasn't as much backlash to it being the frontrunner like with La La Land or Three Billboards Outside Ebbing Missouri. There was the whole controversy on whether The Martian was really a comedy or not. Then, there was Carol completely missing. I generally favor those kind of years though because it seems most years, the races are decided long ahead of time, and Best Picture and Best Supporting Actor were still up in the air. Best Supporting Actress somewhat; although, I think most people predicted that Winslet was only winning when Vikander wasn't nominated. (I was really pulling for Winslet though because I wanted her and Leo to win on the same night.)
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Post by wilcinema on Dec 19, 2018 9:08:35 GMT
Joy brings back some memories. I remember all the madness over the test screenings, and PM'ing people who saw it or knew someone who saw it. All year we heard news that The Revenant went wildly over budget and over schedule, to the point where people started speculating that Iñárritu wouldn't be able to deliver it on time and Fox would push it back to 2016 to focus all their attention on Joy. Then it turned out that The Revenant had no trouble making its deadline, while every new test screening for Joy came back with completely different reactions, like each new cut was a radically disparate film. From "it's 100% a drama, De Niro and Rossellini have a big scene together that will easily get them both nominated" to "there's loads of humor, it's obviously a comedy and Rossellini has 5 lines of dialogue" in the span of two screenings. I remember the buzz switching and people beginning to predict that it was actually O. Russell who wouldn't finish in time and would need to push back to the following year. That whole season in general was pretty wild. Spotlight got good reviews out of Venice but pretty much everyone immediately wrote it off for Best Picture based on that first response; The Big Short debuted in the 60s on MC out of AFI and then steadily rose to the 80s as more reviews started rolling in, going from "I guess it's not a disaster?" to PGA winner and top 3 threat for BP; Room had one of the pundits (Tapley?) calling an early cut one of bottom 5 worst films they'd ever seen, then exploded out of TIFF; The Force Awakens went from not being a BFCA nominee for Best Picture to... being the BFCA's 11th nominee for Best Picture. Joy should really have been pushed to 2016 because it was a fucking mess.
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wonky
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Post by wonky on Dec 20, 2018 6:53:26 GMT
Has 0:29-0:40 of this clip been discussed?
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Post by Pavan on Dec 20, 2018 8:29:45 GMT
Has 0:29-0:40 of this clip been discussed? Subtle as a sledgehammer.
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Zeb31
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Post by Zeb31 on Dec 20, 2018 14:40:42 GMT
Joy should really have been pushed to 2016 because it was a fucking mess. I don't think there's a single year in the history of the human race in which Joy could've come out and not been a fucking mess, tbh.
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Zeb31
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Post by Zeb31 on Dec 22, 2018 23:49:45 GMT
Has 0:29-0:40 of this clip been discussed? That editing is... not optimal, let's put it that way. Hopefully it works better in context. Same goes for Bale's performance, which looks totally grating but might be less jarring and play out better in the film itself.
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