Jake Gittes

I actually thought it really dragged in the middle with the mob and the police, but the first and the last 30 minutes were brilliant. I need to give it a second watch sometime.

I think directors just let Michael Sheen do whatever the fuck he wants on-screen at this point. See also: Tron Legacy.

Dallas Buyers Club isn't gonna be anywhere near this category

Julia Louis-Dreyfus and Tony Hale (hey, who expected that?) winning for Veep = awesome. If the series doesn't drop the ball next year, I'd love it to take Best Comedy too. For how fucking long can Modern Family be winning that? Meanwhile, Jon Hamm losing THE SIXTH YEAR IN A ROW = fuck off, Emmys. And it's a shame that The Rains of Castamere didn't win for writing.

Emmanuel Lubezki - Gravity (winner) Sean Bobbitt - 12 Years a Slave Roger Deakins - Prisoners Bruno Delbonnel - Inside Llewyn Davis Anthony Dod Mantle - Rush / Barry Ackroyd - Captain Phillips / Stuart Dryburgh - The Secret Life of Walter Mitty

Wide is 600+.

Nothing. Not even something like Upstream Color, which practically demands another viewing (or two). I'm hoping I'll have some time in December to re-watch Pines, Spring Breakers, UC, To the Wonder, Before Midnight, Stories We Tell and The Pervert's Guide to Ideology before finalizing my top of 2013.

I watched this last winter and, to my own surprise, couldn't stand it. Didn't feel like a movie as much as an attempt to just cram as many spoken words as humanly possible into 90 minutes of screentime. The result is a high-speed train of a movie that rushes right past you without giving you any chance to actually get on it. That's how I saw it, at least - but maybe me being half-drunk while watching had more to do with it than I thought. I mean, I understood all that was going on, except that after about 15 minutes I already couldn't give any less of a damn.

Gotta love how people who like Woody Allen get called pseudo-intellectual when Allen himself openly and ruthlessly mocks and satirizes pseudo-intellectuals all the fucking time in his movies.

Shouldn't have pushed TITE back three months.

However, this definitely made me laugh more than I would like to admit. http://www.youtube.com/watch?v=ZZ3-7C6RYOE

Googled it. Actually this is what he says: http://www.huffingtonpost.com/2012/02/10/bela-tarr-the-turin-horse_n_1266397.html I've definitely seen Satantango referred to as a black comedy by those who've seen it. I never thought of Turin Horse that way, although now perhaps from a certain POV I could see parts of it as being very darkly amusing.

I have also only seen the cow scene, as well as this little part http://www.youtube.com/watch?v=0MUehcWX1OU But after those bits and especially THE TURIN HORSE, I'm absolutely willing to trust Bela Tarr with 7 hours of my life; it's just a matter of when. I don't think I've never seen any other director - certainly not any living director - create a film in that way, just taking a scene or a shot in which, formally, very little happens, and making it so incredibly atmospheric, hypnotic and haunting. I'm positive that if any filmmaker with even a bit less talent attempted to make The Turin Horse, he'd be laughed off every film festival in the world, but Tarr is both uncompromising enough and talented enough that he makes it work. I'll stop here because I don't want to review another movie in this thread, but I'll just say that I hope - and, to a reasonable extent, expect - that Satantango will have the same effect on me. That it's apparently clearly divided into 12 parts could only help - in the absolute worst case scenario, if you still want to finish it, you could just watch it over a few days as 12 short films. But I'm not personally expecting that scenario.

Some do, especially in ROTK, but overall the films still look really good, and the amount of practical work gone into creating Middle-Earth very much shows. I can hardly imagine the Battle of Helm's Deep ever looking outdated, for example. Meanwhile, The Hobbit already looked fake and cartoonish when I watched it in the theater. The Abyss does look great, so does T-1000 in T2. Davy Jones' face tentacles in DMC, the aliens in District 9 and Richard Parker in Life of Pi might be my favorite recent examples of "pure" CGI that I can remember off the top of my head. There aren't many of those, though.

The original trilogy looks better than most tentpoles made today. That's the power of actual set design and practical effects. It's also why, among major modern science-fiction and fantasy blockbusters, I think only the LOTR films and Inception have a chance to still look as good in 30 years as they do now - also thanks mainly to doing as much practical stuff as possible.

I wouldn't be surprised if it got an original screenplay nod and/or an acting one, maybe supporting actor for Gyllenhaal or something.

My body is ready.

1. Memento 2. The Dark Knight 3. The Prestige 4. Inception 5. Insomnia 6. Batman Begins 7. Following 139. The Dark Knight Rises

BTW, this is the post that got this thread - at least for now - out of the miserable, soul-crushing pile of shit it had become buried in, so thank you very much for asking that question, B.

Me, no matter how much I wanted to, I just never could get completely behind the element. It doesn't make the movie fall apart, but it's still a clear weakness and a distraction, in my opinion.

I'd rank it #3, right behind Memento and TDK.

It's flawed but fascinating and really, really ambitious. I seriously hope that Nolan doesn't get completely buried by piles of money thrown at his blockbusters by both studios and the public and returns to those smaller, yet smarter and more interesting projects like Memento and The Prestige as soon as possible. Four huge tentpoles in a row has got to be enough for him, at least for now.

For a minute there I actually believed that Wolfgang Petersen has made another movie.

The movie (and its direction) would seriously have to sweep everyone off their feet. A couple of other high-profile unseen contenders disappointing wouldn't hurt, either.

Great as usual. It got better as it went along, with a brilliant mid-season what-the-fuck-did-I-just-watch episode, a couple of seriously powerful gut-punches and a shockingly moving final scene (personally I was in tears before I knew it).