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Post by bob-coppola on Dec 28, 2020 0:38:01 GMT
Didn't find a thread for it, so I'm creating one. I can't find words right now other than this is a raging fantastic film, and Mulligan is perfect in every note. However, I don't think I'll ever have the stomach to watch it again. It really got a visceral response from me, it can be quite anxiety-inducing in the third act.
10/10
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Post by pacinoyes on Dec 28, 2020 0:42:34 GMT
Didn't find a thread for it, so I'm creating one. I can't find words right now other than this is a raging fantastic film, and Mulligan is perfect in every note. However, I don't think I'll ever have the stomach to watch it again. It really got a visceral response from me, it can be quite anxiety-inducing in the third act. 10/10 I am quite confused by this movie so just wanted to check - is any of this played for satire or any comic effect or is it a straight drama? I have heard both so just want to make sure I know what to expect. This was in theaters right - not streaming yet?
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Post by bob-coppola on Dec 28, 2020 1:02:40 GMT
Didn't find a thread for it, so I'm creating one. I can't find words right now other than this is a raging fantastic film, and Mulligan is perfect in every note. However, I don't think I'll ever have the stomach to watch it again. It really got a visceral response from me, it can be quite anxiety-inducing in the third act. 10/10 I am quite confused by this movie so just wanted to check - is any of this played for satire or any comic effect or is it a straight drama? I have heard both so just want to make sure I know what to expect. This was in theaters right - not streaming yet? It's a black comedy. If you consider Get Out a comedy, you count it as that too. It's very tongue-in-cheek to some point. However, I'd say the third act is more emotionally heavier and darker than Get Out. Three Billboards is also an apt comparison. This is in theaters but let's just say... it's also... out there.
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Post by mhynson27 on Dec 28, 2020 1:51:17 GMT
Got to see this earlier in the month and yeah, it's fucking great. Hopefully Mulligan can go all the way.
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Post by Pittsnogle_Goggins on Dec 28, 2020 1:53:02 GMT
I am quite confused by this movie so just wanted to check - is any of this played for satire or any comic effect or is it a straight drama? I have heard both so just want to make sure I know what to expect. This was in theaters right - not streaming yet? It's a black comedy. If you consider Get Out a comedy, you count it as that too. It's very tongue-in-cheek to some point. However, I'd say the third act is more emotionally heavier and darker than Get Out. Three Billboards is also an apt comparison. This is in theaters but let's just say... it's also... out there.Where?
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Post by finniussnrub on Dec 28, 2020 4:02:54 GMT
It's a black comedy. If you consider Get Out a comedy, you count it as that too. It's very tongue-in-cheek to some point. However, I'd say the third act is more emotionally heavier and darker than Get Out. Three Billboards is also an apt comparison. This is in theaters but let's just say... it's also... out there. Where?There's apparently some trash cam out there, which one should feel great shame if they watch willingly, and even more if they use that to "review" the film.
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Drish
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Post by Drish on Dec 28, 2020 4:21:08 GMT
I'm dying to watch this.
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Post by pacinoyes on Dec 28, 2020 5:40:14 GMT
Well, blew off the Giants-Browns to see this (in a movie theater) tonight and it's an interesting movie - better written than directed. The movie evokes a slicker (and lesser and less pointed) Ms. 45 and uses a very current subject matter to twist how characters (male, usually) are presented to us which weirdly reminded me of Bombshell (no one will think that, but it's a plus here and a weaknesses in Bombshell which was far more obvious) Here the movie gets 2 huge pluses out of this writers conceit - it is genuinely surprising in how it unfolds and it gets better as it goes along imo......the downside is its resolution didn't work for me .........but I can see why the very end needs to be like that. It does somewhat paint itself into a narrative corner. Mulligan is aces here and not just because she dominates throughout the movie (if you think Viola Davis is supporting in Ma Rainey - well she seems it even more by comparison for awards nerds, haven't seen Nomadland yet) but because at several points she's acting as the character......acting in ways we see and other characters can't fully comprehend or grasp. The camera also loves her and she's often shown squarely in the middle of the frame so she seems to be dominating and you notice her even more - I've never found Mulligan that charismatic an actress really but here she practically pops off the screen (sort of like how Karyn Kusama tried to frame Nicole Kidman in Destroyer but failed to make that completely work). This is a hard movie to rate but it's around a ~7/10 ......that resolution was too neat but I liked much of what came before......and you also get a fine cast with lots of familiar faces popping up including Alfred Molina, Clancy Brown, and MAR obsession Alison Brie...... ......and so it begins.......
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Post by bob-coppola on Dec 28, 2020 10:58:43 GMT
The camera also loves her and she's often shown squarely in the middle of the frame so she seems to be dominating and you notice her even more - I've never found Mulligan that charismatic an actress really but here she practically pops off the screen (sort of like how Karyn Kusama tried to frame Nicole Kidman in Destroyer but failed to make that completely work). I don’t know if you noticed it, but I love how the biblical imagery is often used to frame Mulligan on screen. She’s often shot in a way that objects or wallpaper behind her make it looks like she has wings or a halo. There’s even a scene staged where she ends up like Mother Mary in the Pietà. That was a very unexpected, interesting choice.
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Post by bob-coppola on Dec 28, 2020 10:59:29 GMT
There's apparently some trash cam out there, which one should feel great shame if they watch willingly, and even more if they use that to "review" the film. Thank God I got to watch in pretty high resolution.
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speeders
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Post by speeders on Dec 28, 2020 18:36:32 GMT
There's apparently some trash cam out there, which one should feel great shame if they watch willingly, and even more if they use that to "review" the film. Thank God I got to watch in pretty high resolution. Did you see it online?
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Post by finniussnrub on Dec 29, 2020 1:42:16 GMT
Watched it, quite liked it, but I have to say the marketing is rather misleading.
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Post by bob-coppola on Dec 29, 2020 12:06:34 GMT
So, a couple days have passed and I feel like I can talk better on why I thought this was an incredible achievement. First, there's the screenplay. As pacinoyes said, it's always surprising. I watched it knowing maybe a bit too much, but it still shocked me and surprised me every 15 minutes. It is truly engaging and thrilling, and for the most part, kind of a riot to watch. The story unfolds in a nail-bitting rhythm. There is a certain tonal whiplash to it, to jokes and acid humor at the same time very dark subjects are discussed or implied, but if in other movies this would be a turn-off, here it's a plus. Fennell manages to create an universe that exists halfway into fantasy and reality, it is a very successful satire in that sense. Not only that, but the characters are so well-written and the major ones are quite complex. The writing of Cassie walks the tightrope between psychotic vigilante and PTSD Poster Child - she feels both incredibly powerful and vulnerable. There is a strong sense of sorrow underlining her take-down speeches and her plottings. And Mulligan, my God, Mulligan balances these two extremes so well. This might be my favorite performance from her. I was talking to a friend who also watched this movie, and she described her in a perfect way: Cassie is an american Lisbeth Salander dressed in pop art pink clothes. This is something that Fennell also brings into her direction, with the cotton candy, pastel pink tones mixed with the biblical imagery that frames Cassie as some kind of saint. It's an unexpected choice - both the colors and the religious framing - but it all plays both as some kind of ironic joke (it highlights the brutality of the story instead of hiding it) and affirming "feminine" aesthetic, as if Cassie and Fennell are marking their territory in the movie. Then, I think there are some things to discuss about the third act and the plot overall. I'll put it under spoiler tags, of course. So, to make clear where I'm coming from, I have a lot of female friends, and some are them are survivors of different types of sexual abuse. All of them were scared to go to the police, and some still are, even if they feel comfortable and recovered enough to talk about it amongst ourselves nowadays. But to two friends of mine, it's specially painful because their rapists are our age and went to high school with us. Many of our male friends/colleagues know about the accusations, and are closer to the female victims, and yet have failed to cut ties with or even call out their abusers. It is deeply, deeply hurtful to see someone who caused so much harm to someone you love walk with their lives knowing they will never have to think about the consequences to their actions.
To me, PYW is a perfect movie about rape culture because it covers so well all the nuances. There's Cassie, the best friend who herself is traumatized by Nina's rape - and I related so much to her pain, more than I could admit. There's the female friend who discredited Nina. There are the obvious assholes. And there's the one nice guy that, at the end, still wants to be buddies with a rapist and thinks of himself as less guilty.
PYW is both cathartic and hard to watch because, when it comes to the third act, you realize Fennell isn't just "making a movie on rape culture". She's making a statement and she seriously wants to talk about it, with nothing holding her back. The ending will be very divisive, and I can see why. I myself wouldn't have written it that way, but in the context of the movies and Cassie's psychology, it is very fitting.
The third act is when the facade of pinky colors start to fade away and you realize this movie is sour candy. I do believe that justice and closure/moving on with one's life aren't mutually exclusive. I didn't have to die to move on from whatever haunts me, and neither should anyone. But in this movie, Cassie is so damaged, and watching that video... is just not something she could ever recover from. Both because she sees what happened to Nina and because of how much the Bo Burnham character betrays her trust. So, even if she managed to kill Nina's abuser in the party, she would not be able to move on with her life. Murder and revenge ain't therapy, kids!
There's also, tying to the biblical imagery, the thematic of sacrifice. Cassie is framed as Mother Mary and Christ figure, as a saint, even if she isn't. She's an exterminating angel, if anything. But in the end, storytelling wise, she sacrifices herself for her friend. It's emotionally powerful, but also makes sense if you think in a more grounded way - murder could put those guys on jail. A tape proving a years-old rape, maybe not so much.
Storytelling wise, I've seen some other complaints that are less about ethics and more about logisticals. "Oh, it's a Deus Ex Machina that she would send the phone to the lawyer bla bla bla"... Hmmm... no? It can only be seen as Deus ex Machina because the information is withheld until necessary. But it makes total sense with how Cassie deals with her things. When she's acting out and punishing people, she's incendiary but never sloppy or dumb. From scene one the last, all her actions were calculated and she seems to know all the blindspots and possible flaws of her plans. The scheduled "afterlife" texts and the phone sent to the lawyer are all in-line with her previous modus operandi. Is it REALISTIC? No? But as I said, it's a satire, a story half-fantasy, half reality.
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Post by pacinoyes on Dec 29, 2020 14:46:25 GMT
This is something that Fennell also brings into her direction, with the cotton candy, pastel pink tones mixed with the biblical imagery that frames Cassie as some kind of saint. This was a great analysis post overall - one of the best I've seen in a looooooooooooooooooong while on MAR and in the spoiler part you've hit on what makes the movie work - even with me griping about the very last scenes. The directorial choices also present the script (which to me is better) in counter-point to the visual palette. The movie has a righteously written POV in its DNA that it specifically dramatizes and that never plays like people who merely are virtue signalers and say stupid simpleton platitudes on cultural issues to merely push the audience where it wants to go - i.e. "I was offended by _______ (you hear this all the time in real life - offend by "the racism", or "the sexism", or "the xenophobia")" with no elaboration so it's rightly dismissable. This movie however really articulates its charges AS drama - there is not a single character introduced in this film - and much of the film is an introduction to characters through Cassie - that lacks a human dimension often in its ugliness, frailties and complexities too (in one surprise, compassion/forgiveness)..........and that packs a pretty big wallop dramatically. This script is far more integral to this movie and its mechanics than some movies being championed for their screenplays - it clearly deserves a screenplay nod along with Mulligan - I don't see how that can be logically argued in the awful writing we've seen in 2020.
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Post by quetee on Dec 29, 2020 16:11:58 GMT
Is this streaming yet?
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Post by Deleted on Jan 2, 2021 1:23:23 GMT
My first film of 2021, absolutely loved it.
Trivia - did you guys know that Jack Nicholson's son is in this?
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Post by stephen on Jan 2, 2021 1:30:11 GMT
This, ladies and gentlemen, is what everyone claims Gone Girl is. A perfectly acidic piece of filmmaking with excellent composition and fantastic performances from both Carey Mulligan and Bo Burnham. I called one of the major reveals within the first five minutes of a certain character's introduction, but it's how the film pivots after that where it truly attains greatness. Mulligan is masterfully calibrated here and would make for a very fine winner indeed, and I don't think voters will be as alienated by this film as people expect them to be.
Also, Max Greenfield needs a spinoff about his character, titled Wingman. One of the greatest scene-stealing characters in recent memory.
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Post by Pittsnogle_Goggins on Jan 2, 2021 3:22:00 GMT
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Drish
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Post by Drish on Jan 2, 2021 4:00:35 GMT
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Post by mhynson27 on Jan 2, 2021 4:51:26 GMT
Casting primarily comedic actors for a lot of the small but crucial male roles was such a smart play from Emerald. This goes for Bo's casting too.
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Post by Deleted on Jan 3, 2021 18:55:22 GMT
Glenn stans.
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Post by Mattsby on Jan 3, 2021 20:39:21 GMT
Mild Spoilers.....
Felt more than anything to me like Judd Apatow’s version of vigilantism, not just bc of the casting. Great idea, but rides the brakes, pulls its punches, taking it repeatedly to safe places. It's avenger as YA moral crusader. Script is too careful of itself, awkward, uneven in tone and as a character study, spending much time only dangling ideas and waiting out the badly corny romance before the obvious. That is, until a really shocking later scene… but even that is pretzeled into something safe and slightly glorified. Still a pretty interesting movie especially the beginning and the climactic sequence (before the cute-text-comeuppance). With a darkly enchanting Carey Mulligan perf that kept me into it. 6/10
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Post by Sharbs on Jan 4, 2021 2:03:46 GMT
Pretty terrific. Pretty all encompassing as a grand dissection of the patriarchal, take the easy way out society that exists. Incredibly piercing as it pertains to these characters and the monstrous events that Cassie is shouldering. Incredibly queasy in certain parts and equal parts cathartic and maddening as a contained revenge flick. Mulligan champions this film on her back. Feels like 2004 jumped back at me with the soundtrack choices. - 9/10
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Post by notacrook on Jan 4, 2021 16:28:28 GMT
Yeah, this was really something. Definitely not perfect, but it's so confident and uncompromising that it left me slightly stunned. Emerald Fennell (had no idea she was Camilla from The Crown!) immediately announces herself as a filmmaker with a strong voice and the vision to convey it. I haven't always loved Carey Mulligan, but she's just sensational here - almost certainly her best performance to date. I know the last third of this film has proved divisive, and I can see why, but I thought Fennell made some brilliantly unpredictable and brutal narrative choices that ultimately meant that Promising Young Woman packed a devastating punch. 8.5, could go higher with reflection.
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Post by Tommen_Saperstein on Jan 4, 2021 16:34:49 GMT
Rips of the awards screener is out. Don't think it's on any streaming services yet
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