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Post by The_Cake_of_Roth on Nov 25, 2017 20:17:03 GMT
I can't see it winning best picture in this year when the Academy is going to want to heal everyone in a simple, cure-all kind of way, it's too good. I don't think people are gonna fully get it until they see it a 2nd time. I have to go back to ILD, WoWS, Foxcatcher to find movies in its class and those weren't easily digestible on first watch either to say the least. I can certainly see Rockwell getting some attention finally and I think he may win a lot of critics awards, he's been passed over too much for a long time, though not sure who his competition is this year though. I agree that it struck me as the type of film that would benefit from multiple viewings… my immediate reaction upon leaving the theater was that I wanted to see it again. At this point, I think Rockwell has the easiest path to a win because Dafoe seems too low-key to win and there’s a chance he will be The Florida Project’s only nomination, and I can’t see Hammer or Stuhlbarg winning for CMBYN. Rockwell’s character is showy enough with a great arc, and Rockwell’s a veteran, which is also a plus in that category. It’s interesting that you call Three Billboards an audience challenger, which I don’t disagree with, but I’ve also seen people refer to it as a crowdpleaser in light of its win at TIFF and all the audience awards it’s been racking up…. But I suppose you could argue that festival audiences are different from general audiences, though festival audiences might be a little closer to the taste of Academy voters. In such a wide open year for the Best Picture race, I can see why a lot of people are bullish on the film in terms of its awards chances in spite of how unconventional of a choice it is. Spielberg’s The Post might be too late of a release to win and may not receive the necessary acclaim (could be more like Bridge of Spies), Dunkirk might not get acting or writing noms which could hurt it, CMBYN might be too light and doesn’t have the ‘importance’ factor that Moonlight had last year for there to be two consecutive LGBTQ-themed films winning, LadyBird also might not be ‘important’ enough, Shape of Water is too genre……. Basically every film in the race has something going against it. At this point, I think the BP race is between Three Billboards, Dunkirk, and The Post, and McDonagh could win screenplay at least (which has a strong correlation to Best Picture). I could see a narrative being spun around Three Billboards playing to the current zeitgeist since it touches on issues like sexual assault, racism, and police violence. I think it has more of the ‘importance’ factor than Birdman, which was also an oddball choice in retrospect and was also not a conventional crowdpleaser (but was also about the industry).
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Post by Billy_Costigan on Nov 27, 2017 17:37:29 GMT
I loved every bit of it. My #1 film of the year.
I hope people don't dismiss it as a dark comedy with quirky dialogue. The screenplay is extremely layered (it almost felt like a novel) and McDonaugh touches on a wide variety of themes that really make you think. The emotional moments hit deep and everyone is pitch perfect.
This is a triumph.
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Lubezki
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Post by Lubezki on Nov 28, 2017 0:36:41 GMT
Another very enjoyable and superbly acted piece from McDonagh who's proven to be a master at interweaving intense drama with dynamite comedic elements. McDormand, Woody, all fantastic, but I would like to talk about the eminence of Sam Rockwell for a second.
Once again he showcases his ability to flesh out his characters with layer upon layer of memorable personality traits, and with Officer Dixon it may just be the most challenging role he has taken on to date, but one in which he nails in spades. He's a misunderstood soul, not just by other people who have come across him, but also he himself whom cannot grasp where he belongs in this world. What transpires is a genuine and heartfelt effort to overcome his shortcomings that has long held him back from experiencing a consistent state of happiness, achievement and the most important one of all; empathy. Dixon's slow and gradual progression is something to behold, because Rockwell has complete control of the mosaic like intricacies that Dixon's persona entails. He knows it won't happen overnight, and he will fall back into his old ways many many times. But you root for him all the way because underneath that contemptible, machismo exterior, there's an empty space that simply yearns for true acceptance.
One of the most emotionally stirring performances of the decade from Rockwell and another home run for McDonagh.
9/10
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Post by theycallmemrfish on Nov 28, 2017 1:23:07 GMT
3:15 tomorrow. Then I can read/join in on the conversation!
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Post by Christ_Ian_Bale on Nov 28, 2017 1:45:26 GMT
Guess I'm gonna go against the grain and say that it left a bad taste in my mouth. I had so many issues with the screenplay and tone. All the actors are very strong and there are some fine moments, but it was so strangely off-putting. McDormand was great as always, and while I'm a massive Rockwell fan, I think he's been much better elsewhere. I dunno. I've been marinating on it for a few days and can't get over what the final product turned out to be. What do you think of Seven Psychopaths? That really worries me that you bring up the tone. McDonagh is typically a master of taking the tones of what seem like three different movies and making something brilliantly cohesive. Really hoping to see it this weekend.
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Post by cheesecake on Nov 28, 2017 1:51:25 GMT
Guess I'm gonna go against the grain and say that it left a bad taste in my mouth. I had so many issues with the screenplay and tone. All the actors are very strong and there are some fine moments, but it was so strangely off-putting. McDormand was great as always, and while I'm a massive Rockwell fan, I think he's been much better elsewhere. I dunno. I've been marinating on it for a few days and can't get over what the final product turned out to be. What do you think of Seven Psychopaths? That really worries me that you bring up the tone. McDonagh is typically a master of taking the tones of what seem like three different movies and making something brilliantly cohesive. Really hoping to see it this weekend. I initially enjoyed Seven Psychopaths but it didn't hold up for me on a rewatch. The supporting ensemble is all kinds of amazing (Bright Clay and Walken are my supporting wins, Waits and Stanton are also fantastic). I have a lot of issues with the tone and the balancing of the subplots, or lack there of. I know I sound super cranky, but In Bruges is an all-time favorite so I'm still waiting for McDonagh to deliver again. Are you a fan of Psychopaths?
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Post by Christ_Ian_Bale on Nov 28, 2017 2:04:00 GMT
What do you think of Seven Psychopaths? That really worries me that you bring up the tone. McDonagh is typically a master of taking the tones of what seem like three different movies and making something brilliantly cohesive. Really hoping to see it this weekend. I initially enjoyed Seven Psychopaths but it didn't hold up for me on a rewatch. The supporting ensemble is all kinds of amazing (Bright Clay and Walken are my supporting wins, Waits and Stanton are also fantastic). I have a lot of issues with the tone and the balancing of the subplots, or lack there of. I know I sound super cranky, but In Bruges is an all-time favorite so I'm still waiting for McDonagh to deliver again. Are you a fan of Psychopaths?I actually liked Seven Psychopaths even more on rewatch and think it's Rockwell's best performance, which is an incredibly high bar. It's very easy to see where one would have problems with it, especially following Bruges (an all-time favorite for me as well), but I'm a fan despite it having so much going on. I've been trying to keep my brain neutral, as it feels like all the raves and my high praise for those two could be setting Three Billboards up for an unfair fall in my mind, so I'm trying to refrain from getting hyped.
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Post by FrancescoAbides on Nov 28, 2017 2:11:02 GMT
Another very enjoyable and superbly acted piece from McDonagh who's proven to be a master at interweaving intense drama with dynamite comedic elements. McDormand, Woody, all fantastic, but I would like to talk about the eminence of Sam Rockwell for a second. Once again he showcases his ability to flesh out his characters with layer upon layer of memorable personality traits, and with Officer Dixon it may just be the most challenging role he has taken on to date, but one in which he nails in spades. He's a misunderstood soul, not just by other people who have come across him, but also he himself whom cannot grasp where he belongs in this world. What transpires is a genuine and heartfelt effort to overcome his shortcomings that has long held him back from experiencing a consistent state of happiness, achievement and the most important one of all; empathy. Dixon's slow and gradual progression is something to behold, because Rockwell has complete control of the mosaic like intricacies that Dixon's persona entails. He knows it won't happen overnight, and he will fall back into his old ways many many times. But you root for him all the way because underneath that contemptible, machismo exterior, there's an empty space that simply yearns for true acceptance. One of the most emotionally stirring performances of the decade from Rockwell and another home run for McDonagh. 9/10 Brilliant analysis on Sam Rockwell's performance. He gives so much depth to a character that on paper could be a cliche, it's really something impressive. It's an excellent and flawless portrayal of a very "flawed character".
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Post by theycallmemrfish on Nov 28, 2017 23:18:05 GMT
Loved it. ****. Will expand after a day or so. But before I forget: Woody on the swing talking to McDormand about his cancer was probably the best work I've ever seen him do.
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Post by cheesecake on Nov 29, 2017 0:51:08 GMT
I initially enjoyed Seven Psychopaths but it didn't hold up for me on a rewatch. The supporting ensemble is all kinds of amazing (Bright Clay and Walken are my supporting wins, Waits and Stanton are also fantastic). I have a lot of issues with the tone and the balancing of the subplots, or lack there of. I know I sound super cranky, but In Bruges is an all-time favorite so I'm still waiting for McDonagh to deliver again. Are you a fan of Psychopaths?I actually liked Seven Psychopaths even more on rewatch and think it's Rockwell's best performance, which is an incredibly high bar. It's very easy to see where one would have problems with it, especially following Bruges (an all-time favorite for me as well), but I'm a fan despite it having so much going on. I've been trying to keep my brain neutral, as it feels like all the raves and my high praise for those two could be setting Three Billboards up for an unfair fall in my mind, so I'm trying to refrain from getting hyped. Hope you enjoy it and I'm curious to read your thoughts.
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Post by Pittsnogle_Goggins on Nov 29, 2017 0:57:30 GMT
Was very different from what I was expecting but I loved it none the less. Definitely my #1 film if the year so far. McDormand, Rockwell, amd Harrelson were all fantastic. Rare to find a film with such humor and tragedy so well intertwined.
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Post by theycallmemrfish on Nov 29, 2017 1:01:15 GMT
Was very different from what I was expecting but I loved it none the less. Definitely my #1 film if the year so far. McDormand, Rockwell, amd Harrelson were all fantastic. Rare to find a film with such humor and tragedy so well intertwined. The audience I was in was definitely in tune with both of these and I was more than pleasantly surprised by that.
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Post by jakesully on Nov 29, 2017 2:14:48 GMT
Saw this last week and was impressed. McDormand should be a shoe in at the Oscars. Also, I hope Rockwell gets some awards love too. 8/10
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Post by mattfincher on Nov 29, 2017 16:35:06 GMT
I've seen this twice now and it's clearly the movie of the year, but I expect it to win nothing awards wise now that the woke film people have started taking swings at its morality. Pay no mind that the movie is set in a town that doesn't exist and McDonagh's work always invokes a heightened sense of reality, I guess. Everything has to be directly applicable to the socio-political climate these days, or its gutter trash. This movie's backlash is La La Land but 10x worse because it feels wholly centered around a misread of the entire milieu of the film.
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Post by stephen on Dec 2, 2017 3:27:28 GMT
Saw it last night but I wanted to give it a full day to chew over in my head before writing my thoughts on it. I don't think it's as perfectly calibrated as In Bruges is . . . but then again, very few scripts are. That film should be taught in screenwriting classes. More than any other film he's made, Three Billboards evokes McDonagh's stage heritage more readily. There are moments scattered throughout the film (the interludes with Willoughby's letters, the interloper in the shop, the soliloquy with the deer) that I can see play out on-stage perfectly, but which feel a bit off in the cinematic sense. Not that they're stagey, but that they're trappings more appropriate for a play than a film. But that does not undermine the story's quality at all, because McDonagh makes a strong case for being the best working playwright in the world right now, and the man has a knack for writing characters that, on paper, can be annoying or unlikeable and makes them fascinating.
McDormand is as forceful a presence as any other performance this decade, and if anyone needed a reminder that she is one of the very best actresses alive, watch this and Fargo and see how both performances complement each other and yet are antithetical. Where Marge Gunderson is warm and good-natured, Mildred Hayes is a crabbed, bitter soul tormented by guilt and rage. McDormand doesn't move through the film, she stalks through it like an aged lioness in a well-hunted savanna.
True to form for McDonagh, there is a delightful ensemble to cut into McDormand's turf. Sam Rockwell is getting the loudest notices, and indeed he probably does have the richest character in the entire piece and the clearest character arc. He's excellent and would be worth any plaudits that come his way, but I actually walked away from the film more impressed by a few other members of the cast. Woody Harrelson's beleaguered police chief went a long way towards repairing the man's rep with me after the godawful experience I had with The Glass Castle, Caleb Landry Jones made a surprisingly affecting impact as the town goof/billboard salesman, and when Clarke Peters swaggered into town like Cool Lester Smooth, I broke into a big grin. Nevertheless, as I said before, it's McDormand's territory and her presence is felt even in the rare moments when she isn't on-screen.
As I remarked before, I do think that there were a few issues that didn't quite translate well to a screen portrayal, which I'd be happy to discuss if people are curious. But on the whole, I thought it was another knockout by one of the eminent dramatists of our age, galvanized by a cast at the top of their game headlined by a woman who could lay claim to being America's best actress with little argument from me.
P.S.: I don't know if anyone has remarked on this, but both the McDonagh brothers seem to be big fans of classic Westerns like High Noon and Bad Day at Black Rock, because both this and Calvary feel like modern-day entries in the genre, just with a change of scenery. Ford and Sturges would be proud.
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AKenjiB
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Post by AKenjiB on Dec 4, 2017 18:39:40 GMT
I loved it! Fantastic film. Easily my favorite film of the year so far and possibly Frances McDormand's best performance ever. I'm still not sure if I preferred this or In Bruges but McDonaugh definitely deserves nominations for both the writing and directing.
I've loved Sam Rockwell for a long time and consider his performance in Moon to be one of the best lead actor performances ever. His lack of an Oscar nomination, though somewhat understandable since nobody saw the film, is one of the most egregious snubs in Academy history. I'm thrilled that he's getting so much attention here, because he's equally fantastic here and takes a character that could've been very one-dimensional and gives him a lot of layers.
The film basically delivered everything that I wanted. I laughed, I was horrified, I was saddened, and I left the theater wanting more but also was satisfied with some ends not tied up. Hope this film gets the recognition it deserves.
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Post by therealcomicman117 on Dec 10, 2017 18:39:31 GMT
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Post by bobbystarks on Dec 10, 2017 19:56:05 GMT
and when Clarke Peters swaggered into town like Cool Lester Smooth, I broke into a big grin. I was fighting back the urge to yell "COOOOOL LESTER SMOOTH" in the theater so badly. I had a big grin on my face when he showed up too. Wasn't expecting to see him in this.
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AKenjiB
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Post by AKenjiB on Dec 10, 2017 23:18:02 GMT
and when Clarke Peters swaggered into town like Cool Lester Smooth, I broke into a big grin. I was fighting back the urge to yell "COOOOOL LESTER SMOOTH" in the theater so badly. I had a big grin on my face when he showed up too. Wasn't expecting to see him in this. Clarke Peters is so awesome. It was great that not only was he in the movie, but he actually had some pretty awesome scenes and lines of dialogue too. Hope he and McDonaugh work together again.
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Post by stephen on Dec 10, 2017 23:22:01 GMT
Upon rumination, I gotta say that I feel like Peter Dinklage's character wasn't as fully developed (no pun intended) as I think he should've been. I feel like there were a few scenes setting him up as more of a figure of salvation for Mildred that she winds up rejecting in the face of her grief, bitterness and rage, but that McDonagh never really quite brought it all together. It's not a ruinous thing by any measure, because he was still very good, but when re-evaluating the cast, he kinda sticks out.
Also, I had the idea while watching it that the flashback scene between Mildred and Angela was actually not how it played out, but rather Mildred twisting it in her head to blame herself.
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Post by Tommen_Saperstein on Dec 11, 2017 8:19:02 GMT
Saw it this morning and really enjoyed it.
Cons: - A lot of the humor didn't land for me. I felt it struck this odd balance between dry and irreverent, neutering a good chunk of the comedy-leaning dialogue (there's nothing inherently funny about the word "cunt"...you can't just say "cunt" and expect me to laugh). - I also didn't care for how Rockwell's character/performance was relegated to bumbling idiot racist comic relief in the first half of the film. The shtick grew tired quickly.
That being said...there's sooooooo much to love about this film. So many powerful, shocking, gut-wrenching moments (I actually teared up a couple times) and twists that actually surprise, and I loved that I never knew what would happen next. But I think what I most love about the film is McDonagh's dedication to finding redemptive qualities in seemingly irredeemable characters. There's so much emotional tension and anger between Mildred and the town of Ebbing, and it masks a collective frustration, grief, and guilt they express by lashing out at each other. Three Billboards succeeds by making these characters profoundly sympathetic. You want them to get through their pain and disillusionment and come out the other side. More than anything, you want them to stop hurting each other.
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Post by Tommen_Saperstein on Dec 11, 2017 8:35:12 GMT
Loved it. ****. Will expand after a day or so. But before I forget: Woody on the swing talking to McDormand about his cancer was probably the best work I've ever seen him do. tbh it's a crying shame Woody will probably go un-nominated for this performance, because it's easily some of his most affecting work.
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Film Socialism
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Post by Film Socialism on Dec 13, 2017 8:40:51 GMT
nope
5/10 stuff, has little faith in its audience, unironic virtue signaling, problematic shit all over the place, paced way too quickly, like 2 funny lines, sorkin-esque dialogue, shoddy stuff all around
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no
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Post by no on Dec 13, 2017 17:53:38 GMT
Is it as bad as it looks
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Film Socialism
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Post by Film Socialism on Dec 13, 2017 17:58:45 GMT
yes it's like if Crash was worse
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