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Post by HELENA MARIA on Apr 6, 2018 19:11:32 GMT
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Post by countjohn on Apr 16, 2018 5:43:39 GMT
ddl has to be the most boring working actor Stay punk, man
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Post by countjohn on Apr 16, 2018 5:46:12 GMT
This is neck and neck with TWBB as PTA's best for me. DDL was at his best; it's probably my second favorite from him besides TWBB again. Vicky Krieps is woefully underrated and underdiscussed in this (some reviews seem to just ignore her). She absolutely deserved an actress nod, IMO. Manville was as good as everyone says and was probably my favorite supporting actress performance of the year (although I have no issues with Janney winning).
Greenwood's score is right up there with his TWBB score, although they're too different to compare. That one is ugly and dissonant, but it's perfect for the movie. This one is beautiful and the kind of thing I'd listen to on its own and also perfect for its movie. The camera glides along with the music giving the movie an almost operatic feel like in Eisenstein's sound films. The cinematography was also excellent here. It's becoming more and more apparent to me, between TWBB, The Master, and now this that PTA is the heir apparent to Kubrick. This is exactly the kind of thing he would have done.
PTA's really played with the extremes of individualism and groups in his recent films. TWBB is about a misanthrope and kind of a satire of Randian individualism, The Master was about a cult, and this is about a guy who rotates between being an extreme individualist not unlike Plainview, and a simpering weakling completely dependent on others (whether it be Alma or his sister). He clearly has oeidpol issues and a deep need for nurturing, but he's unable to receive it due to the emotional walls he's built up and his excessive focus on his work. He appears to find a healthy middle ground in Alms'a fantasy sequence, but it's unclear if he'll actually ever find one.
This is without a doubt my favorite of the year and my favorite feature of the decade so far (third best overall behind two documentaries)
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Post by mhynson27 on Apr 16, 2018 10:01:33 GMT
This is neck and neck with TWBB as PTA's best for me. DDL was at his best; it's probably my second favorite from him besides TWBB again. Vicky Krieps is woefully underrated and underdiscussed in this (some reviews seem to just ignore her). She absolutely deserved an actress nod, IMO. Manville was as good as everyone says and was probably my favorite supporting actress performance of the year (although I have no issues with Janney winning). Greenwood's score is right up there with his TWBB score, although they're too different to compare. That one is ugly and dissonant, but it's perfect for the movie. This one is beautiful and the kind of thing I'd listen to on its own and also perfect for its movie. The camera glides along with the music giving the movie an almost operatic feel like in Eisenstein's sound films. The cinematography was also excellent here. It's becoming more and more apparent to me, between TWBB, The Master, and now this that PTA is the heir apparent to Kubrick. This is exactly the kind of thing he would have done. PTA's really played with the extremes of individualism and groups in his recent films. TWBB is about a misanthrope and kind of a satire of Randian individualism, The Master was about a cult, and this is about a guy who rotates between being an extreme individualist not unlike Plainview, and a simpering weakling completely dependent on others (whether it be Alma or his sister). He clearly has oeidpol issues and a deep need for nurturing, but he's unable to receive it due to the emotional walls he's built up and his excessive focus on his work. He appears to find a healthy middle ground in Alms'a fantasy sequence, but it's unclear if he'll actually ever find one. This is without a doubt my favorite of the year and my favorite feature of the decade so far (third best overall behind two documentaries) What are the two documentaries?
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Post by countjohn on Apr 17, 2018 3:13:12 GMT
This is neck and neck with TWBB as PTA's best for me. DDL was at his best; it's probably my second favorite from him besides TWBB again. Vicky Krieps is woefully underrated and underdiscussed in this (some reviews seem to just ignore her). She absolutely deserved an actress nod, IMO. Manville was as good as everyone says and was probably my favorite supporting actress performance of the year (although I have no issues with Janney winning). Greenwood's score is right up there with his TWBB score, although they're too different to compare. That one is ugly and dissonant, but it's perfect for the movie. This one is beautiful and the kind of thing I'd listen to on its own and also perfect for its movie. The camera glides along with the music giving the movie an almost operatic feel like in Eisenstein's sound films. The cinematography was also excellent here. It's becoming more and more apparent to me, between TWBB, The Master, and now this that PTA is the heir apparent to Kubrick. This is exactly the kind of thing he would have done. PTA's really played with the extremes of individualism and groups in his recent films. TWBB is about a misanthrope and kind of a satire of Randian individualism, The Master was about a cult, and this is about a guy who rotates between being an extreme individualist not unlike Plainview, and a simpering weakling completely dependent on others (whether it be Alma or his sister). He clearly has oeidpol issues and a deep need for nurturing, but he's unable to receive it due to the emotional walls he's built up and his excessive focus on his work. He appears to find a healthy middle ground in Alms'a fantasy sequence, but it's unclear if he'll actually ever find one. This is without a doubt my favorite of the year and my favorite feature of the decade so far (third best overall behind two documentaries) What are the two documentaries? Voyage of Time and Exit Through the Gift Shop
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Post by stephen on Apr 17, 2018 3:17:16 GMT
It's becoming more and more apparent to me, between TWBB, The Master, and now this that PTA is the heir apparent to Kubrick. This is exactly the kind of thing he would have done. I actually disagree with this. There Will Be Blood has definite Kubrick antecedents, but Anderson is far more organic and humanistic than Kubrick ever was, particularly in his post- 2001 realm. Kubrick would scarcely allow for the improvisational feel of Anderson's movies. Anderson's last three films have capitalized on Anderson's own original brand, one that feels wholly his own and not working off of the likes of Altman, Scorsese, Tati, Huston or, yes, Kubrick. In short, PTA isn't Kubrick's heir and he doesn't need to be. PTA is his own beast.
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Post by countjohn on Apr 17, 2018 3:23:34 GMT
It's becoming more and more apparent to me, between TWBB, The Master, and now this that PTA is the heir apparent to Kubrick. This is exactly the kind of thing he would have done. I actually disagree with this. There Will Be Blood has definite Kubrick antecedents, but Anderson is far more organic and humanistic than Kubrick ever was, particularly in his post- 2001 realm. Kubrick would scarcely allow for the improvisational feel of Anderson's movies. Anderson's last three films have capitalized on Anderson's own original brand, one that feels wholly his own and not working off of the likes of Altman, Scorsese, Tati, Huston or, yes, Kubrick. In short, PTA isn't Kubrick's heir and he doesn't need to be. PTA is his own beast. Phantom Thread did have a lot of improvisation from what I've heard, so their process is obviously very different. But visually and thematically I think PTA's more similar to him than anyone else working today.
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Post by stephen on Apr 17, 2018 3:30:40 GMT
I actually disagree with this. There Will Be Blood has definite Kubrick antecedents, but Anderson is far more organic and humanistic than Kubrick ever was, particularly in his post- 2001 realm. Kubrick would scarcely allow for the improvisational feel of Anderson's movies. Anderson's last three films have capitalized on Anderson's own original brand, one that feels wholly his own and not working off of the likes of Altman, Scorsese, Tati, Huston or, yes, Kubrick. In short, PTA isn't Kubrick's heir and he doesn't need to be. PTA is his own beast. Phantom Thread did have a lot of improvisation from what I've heard, so their process is obviously very different. But visually and thematically I think PTA's more similar to him than anyone else working today. I just kinda get a bit rankled when people say someone is "the next Kubrick." Kubrick was a brilliant visionary who propelled movie-making on a rocket sled, but I think that wanting to anoint someone as the next Kubrick is a.) overlooking what made Kubrick so singular in the annals of cinema, and b.) understating what makes directors like PTA stand out in the first place. Just a pet peeve of mine. Now if you want to see that PTA is on his way to reaching Kubrickian levels of importance in cinematic history, I'm with you there (I personally think he's already done so, at least in terms of the quality of his output; where Kubrick excelled at pushing the boundaries of what the craft was capable of, I feel he lost sight of the human condition after 1968, which hurts the back half of his catalogue for me).
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no
Badass
Posts: 1,071
Likes: 423
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Post by no on Apr 17, 2018 6:08:42 GMT
standard Oscar fare
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Post by therealcomicman117 on Apr 17, 2018 14:49:02 GMT
Greatest deleted scene in history? It just may be. Although I do think it was the right decision to remove it. Just watched this. I can see why they deleted it, but lol.
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Post by Pittsnogle_Goggins on Jun 20, 2020 20:03:29 GMT
So I finally got around to watching this. Really dragged for the first 30 min and I had a thought time getting engaged. Luckily it took a major upturn from there and I was captivated for the remainder of the film. PTA is rather hit or miss for me so glad that I ended up liking this after the hugely disappointing Inherent Vice. Also, not sure what the consensus is but Krieps > DDL here imo. Really gorgeous direction and cinematography as well.
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Post by pupdurcs on Jun 20, 2020 21:21:51 GMT
So I finally got around to watching this. Really dragged for the first 30 min and I had a thought time getting engaged. Luckily it took a major upturn from there and I was captivated for the remainder of the film. PTA is rather hit or miss for me so glad that I ended up liking this after the hugely disappointing Inherent Vice. Also, not sure what the consensus is but Krieps > DDL here imo. Really gorgeous direction and cinematography as well. I've always been Krieps > DDL. It's her movie.
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Deleted
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Post by Deleted on Jun 22, 2020 13:35:28 GMT
You should watch Truffaut's Mississippi Mermaid instead.
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BlackCaesar21
New Member
You're barking up the wrong acorn!
Posts: 141
Likes: 103
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Post by BlackCaesar21 on Jan 4, 2024 17:26:14 GMT
Just recently saw this for the first time, wow. It is amazing
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Post by PromNightCarrie on Jan 5, 2024 9:00:45 GMT
You should watch Truffaut's Mississippi Mermaid instead. Can't agree there. Phantom Thread is a masterpiece. Mississippi Mermaid is one of the weaker Truffaut movies I've seen. I don't care how cool its stars are.
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