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Post by Deleted on Aug 4, 2017 3:05:41 GMT
Holy shit... I daresay I found it to be superior to both Hurt Locker and Zero Dark Thirty. The entire Algiers motel sequence is nothing short of harrowing, terrifying, and infuriating. My friend watching it with me was shaking that whole time. Everything before and after is also on point. I always say Bigelow is great at building suspense and delivering a wallop of a payoff. If I had to rank performances: Poulter (he is SUCH a bastard here) Smith Latimore Boyega Murray Everyone else
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Post by Allenism on Aug 4, 2017 3:41:12 GMT
I saw it tonight. Intense, unvarnished, emotionally exhausting, though not quite as hard-hitting as I was expecting. The proportionality of the thing feels off with the entire Algiers sequence sucking up most of the running time while the procedural aftermath of the event is rushed through. That being said, kudos to Bigelow for taking such a sprawling event and paring it down into a cohesive, digestible narrative. It's more functionality than nuance with most of the characters due to the action-centric nature of the story, but the performances are so dynamic overall you still feel invested in their respective arcs. Smith is a total star in the making. Poulter was miscast, IMO, even if he does a pretty good job in the role. But just WTF at Krasinski's walk-on.
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Post by Deleted on Aug 4, 2017 17:00:31 GMT
I saw it tonight. Intense, unvarnished, emotionally exhausting, though not quite as hard-hitting as I was expecting. The proportionality of the thing feels off with the entire Algiers sequence sucking up most of the running time while the procedural aftermath of the event is rushed through. That being said, kudos to Bigelow for taking such a sprawling event and paring it down into a cohesive, digestible narrative. It's more functionality than nuance with most of the characters due to the action-centric nature of the story, but the performances are so dynamic overall you still feel invested in their respective arcs. Smith is a total star in the making. Poulter was miscast, IMO, even if he does a pretty good job in the role. But just WTF at Krasinski's walk-on. Yeah I actually went "goddamn it Jim" when he showed up.
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Post by dmitriyuriev on Aug 5, 2017 0:24:12 GMT
Were there any walkouts? Some AW members have said that there have been massive walkouts at their screenings.
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Post by Deleted on Aug 5, 2017 3:47:47 GMT
Were there any walkouts? Some AW members have said that there have been massive walkouts at their screenings. Nah I had a small crowd and they were all chill throughout the movie
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Feesy
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Post by Feesy on Aug 5, 2017 17:40:06 GMT
One of the most uncomfortable films I've sat through in a good while (I don't watch as many movies as most, roast me). The fact that shit like this still goes on 50 years later (FIFTY FUCKING YEARS) is proof positive that we, as people, really haven't evolved all that much. If I had any complaints, the movie doesn't get much of a chance to breathe because of the kinetic and hyper-active style, but it's the smallest of nit-picks from me and the more I think on it, it adds to the overall experience. It feels like you're right in it. It's blunt but incredible. And as far as Poulter goes, I've heard the complaints about him being miscast and I can kinda see it. He seems like a young kid with all the yelling and the screaming, but I thought he was believable as a young, stupid cop. I would've liked someone with a little more presence to play Krauss but Bigelow's work along with the rest was so awesome during the motel sequence that it didn't faze me one bit. Great work from Bigelow, once again.
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Post by stephen on Aug 5, 2017 22:43:02 GMT
It's riveting and raw, and I'd argue that it's closer to a horror film than anything else. ("Historical horror" is a genre that should totally be explored more.) As with Zero Dark Thirty, I feel it would've been even better as a miniseries, with more time to flex its muscles and explore more of the era and the people involved, but I think it was quite effective in compartmentalizing everything into a single serving.
I've seen a lot of complaints and read a few thinkpieces that slam the film for not having an African-American perspective at the helm to tell the story, and indeed if someone like Ava DuVernay had made a film like this, it likely would've had an intriguing new facet to it, but I think people are far too critical toward Bigelow and Boal, who I think did a marvelous job at capturing the anger and fear that ruled the roost in those turbulent times.
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Post by DeepArcher on Aug 5, 2017 23:26:20 GMT
I thought it was fantastic. The third act was problematic, and I hated how they breezed through the courtroom proceedings. The trial was just incoherent and insanely rushed. The first two-thirds of the film were absolutely incredible. The integration of the authentic footage into the dramatic re-staging somehow never felt like a nuisance, and the set-up of the first act works incredibly well. The Algiers Motel sequence is basically everything that others have already said it is ... a deliberately frustrating, deeply repulsive event that is a showcase for some fantastic direction and acting. The ensemble is really great all-around. Algee Smith serves as an impressive newcomer by brilliantly realizing the character who is by far the most well-developed in the film, but the reigning standout here is Will Poulter, who pulls off the character's villainy with such surprising mastery. Poulter's work is powerful and unforgettable, and even comes packaged with a hauntingly menacing smile. Everyone from Boyega, Murray, Reynor, Mitchell, etc. were also all fantastic, rounding out a great ensemble that is hardly weighed down by a distractingly abrupt John Krasinski appearance in the final twenty minutes.
Great movie all-around that is not quite as good as The Hurt Locker, but a step-up from Zero Dark Thirty. Honestly a bit surprised reactions haven't been more positive.
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Post by mhynson27 on Aug 6, 2017 0:15:00 GMT
It's riveting and raw, and I'd argue that it's closer to a horror film than anything else. ("Historical horror" is a genre that should totally be explored more.) As with Zero Dark Thirty, I feel it would've been even better as a miniseries, with more time to flex its muscles and explore more of the era and the people involved, but I think it was quite effective in compartmentalizing everything into a single serving. I've seen a lot of complaints and read a few thinkpieces that slam the film for not having an African-American perspective at the helm to tell the story, and indeed if someone like Ava DuVernay had made a film like this, it likely would've had an intriguing new facet to it, but I think people are far too critical toward Bigelow and Boal, who I think did a marvelous job at capturing the anger and fear that ruled the roost in those turbulent times. Thoughts on Poulter?
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Post by mhynson27 on Aug 6, 2017 0:15:49 GMT
You've got to be fucking kidding me, it doesn't come out here until November. What the hell Australia!
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Post by stephen on Aug 6, 2017 0:22:34 GMT
It's riveting and raw, and I'd argue that it's closer to a horror film than anything else. ("Historical horror" is a genre that should totally be explored more.) As with Zero Dark Thirty, I feel it would've been even better as a miniseries, with more time to flex its muscles and explore more of the era and the people involved, but I think it was quite effective in compartmentalizing everything into a single serving. I've seen a lot of complaints and read a few thinkpieces that slam the film for not having an African-American perspective at the helm to tell the story, and indeed if someone like Ava DuVernay had made a film like this, it likely would've had an intriguing new facet to it, but I think people are far too critical toward Bigelow and Boal, who I think did a marvelous job at capturing the anger and fear that ruled the roost in those turbulent times. Thoughts on Pouter? He was basically a societal ill incarnate. There's not much of a character to Krauss, but I don't think that's a bad thing. He represents the moral malaise that afflicted--and still afflicts--law enforcement, and the fact that such viciousness and hate ferments behind that boyish visage is all the more horrific. One thing I noticed is that at no point does Krauss use an overt racial epithet, while his partner does; Krauss's racism is couched in "they" and "them," which is somehow even more disturbing. Poulter played the hell out of that son of a bitch, and I wouldn't turn my nose up at a supporting actor nod.
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Post by stephen on Aug 6, 2017 0:26:36 GMT
I thought it was fantastic. The third act was problematic, and I hated how they breezed through the courtroom proceedings. The trial was just incoherent and insanely rushed. The first two-thirds of the film were absolutely incredible. The integration of the authentic footage into the dramatic re-stating somehow never felt like a nuisance, and the set-up of the first act works incredibly. The Algiers Motel sequence is basically everything that others have already said it is ... a deliberately frustrating, deeply repulsive event that is a showcase for some fantastic direction and acting. The ensemble is really great all-around. Algee Smith serves as an impressive newcomer by brilliantly realizing the character who is by far the most well-developed in the film, but the reigning standout here is Will Poulter, who pulls off the character's villainy with such surprising mastery. Poulter's work is powerful and unforgettable, and even comes packaged with a hauntingly menacing smile. Everyone from Boyega, Murray, Reynor, Mitchell, etc. were also all fantastic, rounding out a great ensemble that is hardly weighed down by a distractingly abrupt John Krasinski appearance in the final twenty minutes. Great movie all-around that is not quite as good as The Hurt Locker, but a step-up from Zero Dark Thirty. Honestly a bit surprised reactions haven't been more positive. Really wasn't a fan of the Krasinski appearance. He wasn't awful, but he was distracting, and that's just as bad because it took me a bit out of the film.
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Post by stephen on Aug 6, 2017 0:37:44 GMT
He was basically a societal ill incarnate. There's not much of a character to Krauss, but I don't think that's a bad thing. He represents the moral malaise that afflicted--and still afflicts--law enforcement, and the fact that such viciousness and hate ferments behind that boyish visage is all the more horrific. One thing I noticed is that at no point does Krauss use an overt racial epithet, while his partner does; Krauss's racism is couched in "they" and "them," which is somehow even more disturbing. Poulter played the hell out of that son of a bitch, and I wouldn't turn my nose up at a supporting actor nod. have you seen Dark Tower? they ruined everything about the novel. I have. I've been a fan of the novels for almost twenty years, but to be honest, I didn't hate it. I have a lot of complaints, but I think for the most part, they are issues that others will harp on in more detail than I. But I don't think it was a waste of time, and indeed, I went in expecting a disaster and came out thinking I'd seen a fun, albeit studio-butchered, "what-could-have-been" entry in the Tower-verse, chockfull of little easter eggs and nifty sequences. Idris Elba was a fantastic Roland. He wasn't as terse and hard-hearted as the Roland of The Gunslinger, but he captured the nobility and the gravitas Roland exudes from every pore. Even when saddled with some naff lines here and there, he is rapidly eclipsing my mental image of the last gunslinger. It's unlikely we'll get a sequel, but I do think I'll revisit it when it gets a Blu-ray release, and hopefully, it'll come with an extended version to see what Arcel's unbridled vision would've been.
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Post by DeepArcher on Aug 6, 2017 3:11:45 GMT
Really wasn't a fan of the Krasinski appearance. He wasn't awful, but he was distracting, and that's just as bad because it took me a bit out of the film. Agreed. The fact that his character is introduced by randomly waltzing through a door certainly didn't make it any less jarring.
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Post by pacinoyes on Aug 7, 2017 16:19:36 GMT
Tremendously effective fake-out movie making, usually nowadays you get this as a polemic screed but this is more historical record keeping, if it doesn't tell you enough into what made people tick, well that's because there's no justification that can appease a movie going audience or an explanation seeking audience.
It's inconceivable to me that this story wasn't done earlier and I think it's better than Hurt Locker or Zero Dark Thirty really, at least it affected me more.
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Film Socialism
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Post by Film Socialism on Aug 8, 2017 3:55:39 GMT
thats nice and all but will i like this
(glad u all are btw)
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AKenjiB
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Post by AKenjiB on Aug 12, 2017 2:36:24 GMT
I just watched it and I loved it. The first 2/3 are some of the most riveting cinema I've seen in a long time and this'll hopefully go down as one of Bigelow's best films. The last 3rd wasn't as good in terms of pacing (the trailers made me think it'd taken more of a frame story format with detectives interrogating Dismukes and others about what happened) but I still really enjoyed it.
I also liked the portrayal of racism in the film. It's rarely blatant with only a few slurs used in the film and ultimately makes the character interactions more fascinating by making the audience read into the subtext.
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AKenjiB
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Post by AKenjiB on Aug 13, 2017 18:26:05 GMT
I just watched it and I loved it. The first 2/3 are some of the most riveting cinema I've seen in a long time and this'll hopefully go down as one of Bigelow's best films. The last 3rd wasn't as good in terms of pacing (the trailers made me think it'd taken more of a frame story format with detectives interrogating Dismukes and others about what happened) but I still really enjoyed it. I also liked the portrayal of racism in the film. It's rarely blatant with only a few slurs used in the film and ultimately makes the character interactions more fascinating by making the audience read into the subtext. Yeah agreed, i loved the cast but not sure about Boyega, starting to question his range as well. Oh I actually liked Boyega in the film. Admittedly, he didn't have as much to do as I expected. Not much dialogue and a pretty passive character but I thought he pulled off what we needed from the character, being this guy stuck between two groups, being viewed as "one of the good ones" by the cops and national guard but not being able to do much else about his situation. The two scenes I really liked with him were the interrogation scene with the cops and when he's led to an overcrowded jail cell after being charged with murder. I thought he brought a lot with his facial expressions in those scenes. He's certainly not the MVP of the film, but I think he's a really good actor and hope he keeps doing dramas like this and not just the blockbuster stuff (not that I'm not excited for him in the next Star Wars and Pacific Rim)
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Post by therealcomicman117 on Aug 14, 2017 0:54:36 GMT
Cast was great all-around, but Will Poutler was especially fantastic as the asshole "leader cop". Oscar caliber performance if you ask me.
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Post by therealcomicman117 on Aug 21, 2017 1:46:34 GMT
Cast was great all-around, but Will Poutler was especially fantastic as the asshole "leader cop". Oscar caliber performance if you ask me. Yeah Brits are filling my lineup in supporting as of now. Not sure about my lineup being full of Brits, but I loved how imitating he was, only it turned out his character was just as weak. Good stuff.
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Post by eyebrowmorroco on Nov 14, 2017 1:48:49 GMT
Poulter Boyega (a young Denzel) Mackie Mitchell O'Toole Smith the rest Reynor
On the film overall, it was in dire need of a tougher editor. I would have completely eliminated the court sequence, mitigating Bigelow's desperate inclination towards closure - this includes the music act. I think it would have been more impactful, more memorable. But I don't know if this would make a difference to the Academy.
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Post by alexanderblanchett on Nov 27, 2017 21:28:47 GMT
Very moving and shocking film about the Detriot riots. A film that makes you think a long time after seeing it. I had some issues with the first 20 minutes or so because the film lacked getting drive but after that it really turned out to be a truly great movie that perfectly mixes elements of drama, thriller, mystery and pure horror until it turns into an even more shocking court room drama. Why shocking? Because of the way the people thought in the late 60s. The acting was good and constantly strong. Algree Smith is the great new discovery of this film. A strong performance from the beginning to the end with an excellent character development that is very well handled. Also Will Pouter was excellent. Less character development but pure menace. A huge step up from his usual performances and he really played excellently against image. While the character on paper is rather one dimensional the performance he brings out is he best of the movie. John Boyega is doing the right decision in-between his "Star Wars" films. The performance was very solid and I really loved his character. The interrogation scene was excellent. Good support by Jason Mitchell, who once again proves to be a versatile actor to look out for and Anthony Mackie who really held himself in the background and let his new comer co-stars the show. I didn't like th shaky camera too much, was not needed in my eyes. The screenplay was good and it left me with sad and angry emotions.
Current nominations for:
Best Actor in a Supporting Role: Will Poulter
Rating: 8/10
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Post by cheesecake on Nov 28, 2017 1:57:30 GMT
It's so freaking good and a shame it got lost in the shuffle. The early release hurt it, I guess, and I don't think the re-release and big Oscar campaign will help much. It's such a strong and unflinching film. Poulter is incredibly unnerving.
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Post by Christ_Ian_Bale on Nov 28, 2017 2:11:29 GMT
I went in thinking it was going to be an ensemble Crash-like scenario with intersecting stories, but I liked how they kept it mostly in the one location, really building up the claustrophobia and intensity of the situation, then continued on with the riveting aftermath. But Jesus fuck, why Krasinski? In some of the movie's most important scenes, he shows up looking ridiculously out of place and is impossible to buy as a serious actor.
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Post by alexanderblanchett on Nov 28, 2017 19:44:44 GMT
I went in thinking it was going to be an ensemble Crash-like scenario with intersecting stories, but I liked how they kept it mostly in the one location, really building up the claustrophobia and intensity of the situation, then continued on with the riveting aftermath. But Jesus fuck, why Krasinski? In some of the movie's most important scenes, he shows up looking ridiculously out of place and is impossible to buy as a serious actor. I didn't mind Krasinski too much but I agree there would have been better choices for that role.
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