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Post by DeepArcher on Jan 5, 2019 5:46:13 GMT
Didn't see a thread on this, so I thought I'd make one as its release starts to expand. This was undoubtedly one of my most anticipated of the year and I finally got the chance to see it tonight. My thoughts:
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AKenjiB
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Post by AKenjiB on Jan 5, 2019 7:57:11 GMT
I just got back from it and although I’m still processing, I really enjoyed it. I agree that the narration didn’t really feel necessary but the stuff that worked was so strong. The acting is consistently great from the ensemble. Basically every performance had at least one really stand-out moment. The score was unsurprisingly haunting, and the film manages to balance tones so well. Honestly one of the most emotional experiences I’ve had in a movie theater recently, just in the way that I felt both immense joy and depression watching it. Truly a bittersweet experience. Not as good as Moonlight for me, but it definitely proves that Barry Jenkins isn’t a one-hit wonder.
It’s really baffling to me that this film didn’t get a PGA nomination over films like Green Book, Bohemian Rhapsody, and Black Panther.
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Post by DeepArcher on Jan 5, 2019 8:17:59 GMT
It’s really baffling to me that this film didn’t get a PGA nomination over films like Green Room, Bohemian Rhapsody, and Black Panther. I'm still holding out hope that this could sneak in as a Phantom Thread-esque passion nominee after missing most of the key precursors, but it sucks that its chances aren't looking good. If it's snubbed from the Best Picture line-up, it'll be a better film than nearly all of what actually gets nominated.
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Film Socialism
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Post by Film Socialism on Jan 5, 2019 16:44:38 GMT
great stuff, probably makes my top 10 of the year so far. wasn't big on Moonlight at all but i think this is really accomplished and shows a lot of potential.
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Post by Deleted on Jan 5, 2019 22:33:22 GMT
I'm of two minds about it - it's stunning to look at and to listen to, and these elements certainly elevate it, and the leads have chemistry and beauty to spare, but they're not... particularly interesting as protagonists. It's not the actors' faults, really - the screenplay isn't really asking anything of them other than to be beautiful. The film lacks urgency, and it sort of frustratingly meanders between present-day and flashback for looooong stretches. Its arguments about race are interesting, but the characters used to illustrate its points are pretty cartoonish and one-note.
Regina King owned this film IMO - she provides it with an electric jolt every time she's onscreen. She's firing on so many different cylinders here - there's the lived-in marital chemistry, the maternal warmth, the steely determination that cumulates to her final scene in Puerto Rico - her performance is pure dynamite. It's one of my favorites of the year, regardless of gender or category placement.
I liked Adams more than I normally do in Vice, but I sincerely hope King wins the Oscar - NYFCC, LAFCA, and NSFC don't lie!
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Post by quetee on Jan 5, 2019 23:04:48 GMT
It’s really baffling to me that this film didn’t get a PGA nomination over films like Green Room, Bohemian Rhapsody, and Black Panther. I'm still holding out hope that this could sneak in as a Phantom Thread-esque passion nominee after missing most of the key precursors, but it sucks that its chances aren't looking good. If it's snubbed from the Best Picture line-up, it'll be a better film than nearly all of what actually gets nominated. The nod seems as though it is slipping away each passing day. It didn't hit the PGA and I think it really needed that especially since Moonlight scored one. If Barry doesn't score DGA nod and I believe he won't then it probably won't happen.
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Post by Ryan_MYeah on Jan 8, 2019 0:21:57 GMT
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Post by morton on Jan 11, 2019 3:36:19 GMT
I just got back from it and although I’m still processing, I really enjoyed it. I agree that the narration didn’t really feel necessary but the stuff that worked was so strong. The acting is consistently great from the ensemble. Basically every performance had at least one really stand-out moment. The score was unsurprisingly haunting, and the film manages to balance tones so well. Honestly one of the most emotional experiences I’ve had in a movie theater recently, just in the way that I felt both immense joy and depression watching it. Truly a bittersweet experience. Not as good as Moonlight for me, but it definitely proves that Barry Jenkins isn’t a one-hit wonder. It’s really baffling to me that this film didn’t get a PGA nomination over films like Green Book, Bohemian Rhapsody, and Black Panther. It baffles me that it missed SAG too because it's such a strong ensemble. I'm okay with four films that made it in there, but after seeing this and when I think about how The Favourite missed to Bohemian Rhapsody, it still makes me mad. So many MVPs. I can't believe Stephan James only has one smaller nomination for his performance. Now I understand why Brian Tyree Henry had a lot of buzz after TIFF. Of course, Tish's family was great, and I wish that we had got to see more of them as a whole. Of course, I can write about MVPs without mentioning Regina King. I really hope she can still pull off the Oscar win. I think Amy Adams is a wonderful actress, and I understand her fans really wanting her to finally win, but out of all the possible supporting nominees that I've seen so far (Adams, Debicki, Foy, Kidman, King, Robbie, Stone, Weisz), she would rank at the bottom. Not to say that she isn't good, but for me if she wins it would be because of her narrative not because of her performance. I know that happens all the time, but I really hope that she wins for something more worthy of her talents. Finally, right now all I can think to say is that I agree about the narration though. It would have been perfect for me if it hadn't been for that. I think the scenes are pretty easy to follow without it, and speaking over the beautiful music and scene just gets in the way of the mood. I thought I would get used to it, but I didn't really.
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chris3
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Post by chris3 on Jan 11, 2019 7:57:53 GMT
Just got back from the theater. Loved it. Not as incredible as Moonlight, but a very worthy follow-up nonetheless. Just like his previous film, Jenkins demonstrates right from the opening shot the pure excellence of his craft. That bird's-eye-view intro was just phenomenal. Every sequence is a joy to behold. I especially loved when the two families meet in the first act. Moonlight wasn't a fluke, and Barry Jenkins has officially cemented his place among the top directors working today. The score is heartbreaking and achingly romantic. It might be my favorite of 2018. The main string theme is just pure yearning. Jenkins does a brilliant job of adapting the book (it retains the same back-and-forth, lyrical, poetic structure of Baldwin's novel, although stylistically it's very different from what I pictured while reading it). I guess my only two nitpicks are 1) I wasn't quite as enthralled by the second half as I was the first (the finale is particularly low-key, but this might improve on a rewatch), and 2) most of the cinematography was absolutely knock-out magnificent, but some of it looked really digital (particularly the interior, stage-y scenes at Tish's parents' home), and that always clashes with my eye in period pieces like this, especially ones that employ warm, nostalgic, soft-focused cinematography to tell its story. The digital look gives all the period details a fake quality. This has nothing to do with the framing/composition or color scheme of Jenkins' and Laxton's shots; I really think it's the Alexa. Could it be the lighting? Am I the only one whose brain processes the images this way? One more reason why it was a great move to shoot Roma in Black and White. Anyway, it was only in a couple of scenes, and the majority of the film really is gorgeous. In a just world Jenkins would have an Adapted Screenplay win in the bag and be a shoe-in nominee for Director, too. And man, that opening shot was beautiful.
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Post by The_Cake_of_Roth on Jan 14, 2019 7:13:10 GMT
This was fine, but I thought it was a significant step down from Moonlight, which had a kind of poetry that this film lacked. It feels too much like an adaptation of a novel: too talky, too mannered, too disjointed, scenes unnecessarily distended... the film also feels a bit underdramatized and the protagonists seem somewhat underwritten. Some of the directorial choices didn't totally work for me either. Not a bad film by any means, but I was expecting more from this.
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Post by chris3 on Jan 17, 2019 2:00:39 GMT
This was fine, but I thought it was a significant step down from Moonlight, which had a kind of poetry that this film lacked. It feels too much like an adaptation of a novel: too talky, too mannered, too disjointed, scenes unnecessarily distended... the film also feels a bit underdramatized and the protagonists seem somewhat underwritten. Some of the directorial choices didn't totally work for me either. Not a bad film by any means, but I was expecting more from this. And that's what I really like about Jenkins' approach. He retains the literary structure of the novel (and most modern novels), which tend to weave multiple chronologies within specific sequences and/or vignettes. Like how in a novel one scene between a family in a living room can last fifty pages or longer because within that one scene the novel is bouncing around character backstories that branch out into other flashback scenes that can continue on, until inevitably we're back in the living room with the family and it moves to another character or timeline. This is very rarely retained in a film adaptation, which almost always flattens the narrative into a completely linear chronology, or sometimes includes one or two flashback sequences at key moments within a linear story. This movie to me was like a succession of those types of literary vignettes, and I found each one specifically enthralling (up until a less satisfying third act, but I have to see the movie again to make up my mind). To me it was really refreshing and felt almost jazzy in how scenes would weave in and out of each other, the story carefully focusing on certain details or characters at certain moments, but never from a traditional angle. That almost free-form narrative coupled with the hauntingly romantic score created a kind of poetry that was maybe not quite as revelatory as Moonlight but still a captivating, interesting piece of art.
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Post by ingmarhepburn on Jan 17, 2019 2:17:47 GMT
Just got back from the theater. Loved it. Not as incredible as Moonlight, but a very worthy follow-up nonetheless. Just like his previous film, Jenkins demonstrates right from the opening shot the pure excellence of his craft. That bird's-eye-view intro was just phenomenal. Every sequence is a joy to behold. I especially loved when the two families meet in the first act. Moonlight wasn't a fluke, and Barry Jenkins has officially cemented his place among the top directors working today. The score is heartbreaking and achingly romantic. It might be my favorite of 2018. The main string theme is just pure yearning. Jenkins does a brilliant job of adapting the book (it retains the same back-and-forth, lyrical, poetic structure of Baldwin's novel, although stylistically it's very different from what I pictured while reading it). I guess my only two nitpicks are 1) I wasn't quite as enthralled by the second half as I was the first (the finale is particularly low-key, but this might improve on a rewatch), and 2) most of the cinematography was absolutely knock-out magnificent, but some of it looked really digital (particularly the interior, stage-y scenes at Tish's parents' home), and that always clashes with my eye in period pieces like this, especially ones that employ warm, nostalgic, soft-focused cinematography to tell its story. The digital look gives all the period details a fake quality. This has nothing to do with the framing/composition or color scheme of Jenkins' and Laxton's shots; I really think it's the Alexa. Could it be the lighting? Am I the only one whose brain processes the images this way? One more reason why it was a great move to shoot Roma in Black and White. Anyway, it was only in a couple of scenes, and the majority of the film really is gorgeous. In a just world Jenkins would have an Adapted Screenplay win in the bag and be a shoe-in nominee for Director, too. And man, that opening shot was beautiful. Excellent review. From what I gathered, you also read the book. Can you write a bit about the cast and their performances? Did they fit their parts well? Who impressed you more? Do you think Regina King deserves all the accolades she's getting?
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Post by chris3 on Jan 17, 2019 5:59:03 GMT
Excellent review. From what I gathered, you actually read the book too. Can you write a bit about the cast and their performances? Did they fit their parts well? Who impressed you more? Do you think Regina King deserves all the accolades she's getting? I think the entire cast was uniformly excellent, without any one person really standing out to steal the show. The whole thing has a dream-like, almost Malick-ian quality to it, so the performances sometimes drift in and out of scenes. It's unique. And yet I think because of that fact, I probably wouldn't nominate any one person in the cast (though I'll definitely vote for it in Ensemble at the AMARAs). Regina was great, but her role was far less showy than I expected given the awards buzz. My favorite relationship realized from the novel was of the two fathers, whose friendship has a sort of devilish, us-against-the-world boyishness to it that is just so well-rendered onscreen between the two actors. I also loved Fonny's mother. She was perfect. I'll be honest, Tish was nothing like how I pictured her in the novel. KiKi Layne has the skinny, youthful physicality of the character, but I pictured someone with a little more melancholy/desperation behind her eyes. As for the adaptation itself, from what I can remember it seemed very faithful. Even much of Baldwin's omniscient narrator prose is filtered into the first person voice-over narration throughout. The balance of Baldwin's tenderness alongside his righteous fury at injustice is perfectly calibrated by Jenkins. Many fans of Baldwin's writing knows that he weaves these two elements sometimes into the same sentence, and Jenkins conveys this juxtaposition by slathering his individual scenes/sequences with evocative romanticism inside an overall narrative that from the very beginning plays out like a sort-of foregone conclusion tragedy. I wasn't expecting the jazzy style, however. I read the book during a time when I was getting into Italian neorealism, and that must have bled into how I pictured the novel (long handheld tracking shots through Brooklyn, all diagetic score, ultra-naturalistic, etc), so Jenkins' more earthy, dreamy, romantic vision came as a really welcome surprise.
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Post by DeepArcher on Jan 17, 2019 7:13:41 GMT
Even much of Baldwin's omniscient narrator prose is filtered into the first person voice-over narration throughout. I'm not sure what you mean by this, the novel is written from Tish's first-person perspective. Unless I'm just misunderstanding your meaning.
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Post by chris3 on Jan 17, 2019 8:02:48 GMT
Even much of Baldwin's omniscient narrator prose is filtered into the first person voice-over narration throughout. I'm not sure what you mean by this, the novel is written from Tish's first-person perspective. Unless I'm just misunderstanding your meaning. Sorry it's very difficult for me not to read the prose to all of his novels in his voice. Tish's narration wanders around, focusing on different aspects of the neighborhood, so I took that recollection and ran. I might have been thinking of The Fire Next Time, which is first person but from Baldwin's autobiographical perspective and like all his stuff written in a similar vein. Have you read Beale Street? I can't for the life of me remember if the final scene of the movie matches the book. For some reason I seem to remember it ending with Tish crying.
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Post by DeepArcher on Jan 17, 2019 8:20:20 GMT
Sorry it's very difficult for me not to read the prose to all of his novels in his voice. Tish's narration wanders around, focusing on different aspects of the neighborhood, so I took that recollection and ran. I might have been thinking of The Fire Next Time, which is first person but from Baldwin's autobiographical perspective and like all his stuff written in a similar vein. Have you read Beale Street? I can't for the life of me remember if the final scene of the movie matches the book. For some reason I seem to remember it ending with Tish crying. I have read it, as I mentioned in my review. I actually read it recently to prepare for seeing the film. The film's ending doesn't quite match the novel. In the book, they hear the news that Frank has died in a car accident right before Tish's water breaks. It's actually one of my few gripes with the film that Jenkins decided to cut that out, I felt that added a unique circle-of-life touch to the story that added a neat layer to the film's spiritualism. The book also doesn't explicitly state at the end that Fonny takes a plea bargain, it's left up to interpretation, the last passage in the book is more abstract but basically states that Fonny is still behind bars as his child grows up, but he's waiting to be home eventually, etc ... the last scene of the film in which they visit him in prison five-ish years later was entirely invented for the film.
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Post by chris3 on Jan 17, 2019 19:42:51 GMT
Yeah, the book had a more somber, melancholy feel to it. I think the book had the benefit of exploring its characters in a far deeper fashion than the script. If I can remember the movie doesn't even touch upon their childhoods, right? Fonny and Tish knew each other since they were kids and some of those early flashback scenes of Tish mistrusting Fonny were pretty cute. Overall I think Tish wasn't as sympathetic of a protagonist as she was in the book. Still, the trade-off is that Jenkins pumps his film with so much Wong Kar Wai deliberate romanticism that his style/aesthetic ends up bolstering the emotions of the film that seem a bit bare in the script. I actually kind of like how "ordinary" Tish and Fonny are portrayed in the film, which sounds like a backhanded way of calling the characterizations thin, but overall I think it worked. Thanks for the feedback. I didn't remember that final scene at all, and the movie itself ended in a rather abrupt fashion. Loved your review btw.
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Post by The_Cake_of_Roth on Jan 17, 2019 19:45:12 GMT
This was fine, but I thought it was a significant step down from Moonlight, which had a kind of poetry that this film lacked. It feels too much like an adaptation of a novel: too talky, too mannered, too disjointed, scenes unnecessarily distended... the film also feels a bit underdramatized and the protagonists seem somewhat underwritten. Some of the directorial choices didn't totally work for me either. Not a bad film by any means, but I was expecting more from this. And that's what I really like about Jenkins' approach. He retains the literary structure of the novel (and most modern novels), which tend to weave multiple chronologies within specific sequences and/or vignettes. Like how in a novel one scene between a family in a living room can last fifty pages or longer because within that one scene the novel is bouncing around character backstories that branch out into other flashback scenes that can continue on, until inevitably we're back in the living room with the family and it moves to another character or timeline. This is very rarely retained in a film adaptation, which almost always flattens the narrative into a completely linear chronology, or sometimes includes one or two flashback sequences at key moments within a linear story. This movie to me was like a succession of those types of literary vignettes, and I found each one specifically enthralling (up until a less satisfying third act, but I have to see the movie again to make up my mind). To me it was really refreshing and felt almost jazzy in how scenes would weave in and out of each other, the story carefully focusing on certain details or characters at certain moments, but never from a traditional angle. That almost free-form narrative coupled with the hauntingly romantic score created a kind of poetry that was maybe not quite as revelatory as Moonlight but still a captivating, interesting piece of art. In theory, it's a cool idea to retain the literary structure of a novel whose storytelling is non-linear, but here it felt to me (and keep in mind I haven't read the book) like there were gaps in the storytelling as a result of the film's structure, which undercut the drama, the pacing, and the potential for the characters to be fleshed out more imo.
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Post by DeepArcher on Jan 17, 2019 21:41:13 GMT
If I can remember the movie doesn't even touch upon their childhoods, right? Fonny and Tish knew each other since they were kids and some of those early flashback scenes of Tish mistrusting Fonny were pretty cute. Yeah, the movie doesn't include many childhood flashbacks at all. Just those brief moments of them bathing together, and that's all, as far as I can remember. Which is a shame, because that does leave out some great stuff. I was especially bummed that Jenkins cut-out their "first date" when Tish goes to church with Fonny's family. Not that it's essential, but I did love that scene and it helped add a lot to the characterization of Mrs. Hunt in particular. Oh well -- Jenkins compromised by adding some stuff of his own, and what he did create works really damn well.
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chris3
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Post by chris3 on Jan 17, 2019 23:36:24 GMT
I loved that part!! Overall Fonny's family got a bit of the short shrift, but every scene they're in is fantastic so I can't really complain. I was just so impressed that Jenkins retained the more lyrical structure. Most adaptations would probably rewrite the narrative to begin with Fonny's arrest. I love how he even included little details like Fonny's eyes naturally casting downwards in the scene with Tish behind glass, which gets commented upon at the very beginning of the book but is only silently visualized onscreen. The freeze frame was a little out of place, but Layne's narration helped sell it. Her voice-over performance felt perfectly matter-of-fact, another aspect I didn't expect but really worked. I visualized Tish as more I guess commonly vulnerable, who then achieves a kind of quiet but immensely powerful grace through her actions, just like the whole family. Jenkins really highlighted the strength and resilience, whereas I read things as more tragic.
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Post by stephen on Jan 19, 2019 4:52:43 GMT
After Moonlight hit it big with the Oscars, Barry Jenkins was propelled to the forefront of cinematic auteurs, being considered by many to be the heir apparent to the likes of Wong Kar-wai. Indeed, Moonlight’s rampant acclaim set Jenkins up for great things—or potential disappointment, depending on his next choice of project. Indeed, deciding to tackle a beloved novel by James Baldwin—a hitherto unadapted voice in black literature—was an exercise in audacity that could very well have backfired on Jenkins. Thankfully, If Beale Street Could Talk manages to largely skirt any sort of disastrous pitfalls that hit young auteurs in the immediate wake of their early success.
While Moonlight was the unconventional chronicle of a gay black youth in three chapters of his life, Beale Street is a bit more traditional, dealing with the blossoming love between Tish and Fonny, Harlem’s answer to Romeo and Juliet. Their story hits a lot of well-worn beats, for it is (as the song says) a tale as old as time. Yet Kiki Layne and Stephan James bring a marvelous, warm chemistry to the proceedings that feels so genuine that you forgive its overt familiarity.
Jenkins, however, can’t help but play with convention a little bit. The story is largely told in two structures, hinged around Tish’s announcement that she is pregnant. Fonny, meanwhile, is cooling his heels in prison, awaiting trial for a trumped-up rape charge. While Tish’s family coalesces around her to help prepare for the impending arrival as well as trying to fight for Fonny’s survival via any means, legal or illegal, Tish spends a lot of time thinking back on those happier days, when she and Fonny were young and had the entire world before them.
And it is through these themes that Jenkins’s ambitions come to the fore. While Moonlight was much more oblique in its commentary on crime, poverty and the damage that such things have inflicted on the black community, Beale Street is far more fiery in its indictments. It wastes no time in commenting on the horrors that prison inflicts on the psyche (in this film, courtesy of a masterful scene with Brian Tyree Henry) or on the deck-stacking that halts (or greases) the wheels of justice. There are times where we can feel Jenkins’s thumb on the scales a bit, lingering on a beat or a shot a tad too long, as if he doesn’t quite trust us to get what he’s going for, but they are indeed few and far between.
As for the cast, it’s largely a very impressive bunch. The aforementioned Henry doesn’t get a whole lot of screentime, but he’s powerful and haunting. Colman Domingo, Michael Beach and Teyonah Parris each showcased some excellent chops—Parris in particular gets in some searing burns and makes the absolute most of her moments on-screen, and I'd say along with Henry is the film's MVP. But I must say, I don’t know if I loved Regina King’s performance to the extent others did. She was good, as she almost always is, but I found her character to be rather passive, ceding the floor to louder and more impactful roles in her scenes. But it’s the scenes where she takes center stage that feel the weakest in the overall film, in a subplot that I found to be a bit too unbelievable and stitched-in from an entirely different movie. It holds no bearing on her work in it, and I can’t speak to whether or not those scenes are in Baldwin’s novel or not, but they didn’t quite work for me. (Also, Dave Franco is hilariously out of place in this movie, and I guess Diego Luna just happened to show up on set and wouldn’t leave unless they gave him some camera time?).
Of course, the film belongs to Layne and James, and we are so entranced by them and invested in their relationship from start to finish. It is a story we’ve seen before, will likely see again, but it’s good to know that a good love story can still have the power to make us smile, cry and celebrate.
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Post by DeepArcher on Jan 19, 2019 5:07:01 GMT
and I can’t speak to whether or not those scenes are in Baldwin’s novel or not They are. Doubt that influences your thoughts at all, but I just wanted to confirm that. That subplot definitely works better in Baldwin's more unstructured narrative, I'm sure it would've been more detracting for me in the film had I not gone in expecting it. Glad to see you liked it overall though, even if I don't agree with all your criticisms.
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Post by stephen on Jan 19, 2019 5:14:33 GMT
and I can’t speak to whether or not those scenes are in Baldwin’s novel or not They are. Doubt that influences your thoughts at all, but I just wanted to confirm that. That subplot definitely works better in Baldwin's more unstructured narrative, I'm sure it would've been more detracting for me in the film had I not gone in expecting it. Glad to see you liked it overall though, even if I don't agree with all your criticisms. Do they ever talk about Brian Tyree Henry's character at all after he gets arrested? They just kinda drop that subplot.
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Post by DeepArcher on Jan 19, 2019 5:24:41 GMT
Do they ever talk about Brian Tyree Henry's character at all after he gets arrested? They just kinda drop that subplot. Not really, unfortunately. I think we are just left to assume that the DA's office kept blocking the attorney from being able to talk to him. Besides, after Sharon fails to convince Victoria to testify on their behalf, their case is sort of DOA at that point, so there wasn't much need to bring his character back into the picture. It definitely would've been nice to see Jenkins add material with Daniel after he gets arrested though. I was hoping his role would be expanded a bit with an actor of Henry's caliber in the role, but unfortunately that wasn't the case. Still, it's hard to complain about a staggering one-scene wonder.
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Post by alexanderblanchett on Jan 27, 2019 22:44:04 GMT
Barry Jenkins really developed its own style. Its very elegant, smooth with dramatic close ups and followed by an atmospheric Soundtrack. And so is also his newest gig "If Beale Street Could Talk". The Story is adapted from the novel by James Baldwin and tells an intersting story of a pregant Woman who together with her Family wants to prove the innocence of her boyfriend and the Father of the child. The film takes place decades ago but still feels like it is of our time. And that is shockingly sad. Very relevant Topics. The acting is excellent. Kiki Layne will go a Long way. What a charismatic and talented new comer. She really owned the screen from the beginning to the end. Regina King is also very good but I find her overrated.. she is not the second coming of Christ, like this years Awards Season makes her appearing to be.. she is great and commanding yes, but to be honest there have been even better supporting Performances this year. Still a very good Performance by a very talented actress. The best performnce in my opinion came from Stephan James. Also a great Newcomer. He really dived into his character and made it one of the most appealing characters - also to feel sorry to - of the year. Other good Performances came from Aunjanue Ellis and Brian Tyree Henry. Another memorable aspect of the film was clearly the great score. The only film that bothered me was that the mid section seemed to drag a Little bit… great first and last third but the second third was a bit slow. Still stylish still with fine Moments, though.
Nominations:
Best Adapted Screenplay
Rating: 8/10
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