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About gadd

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    Indie Sensation

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  1. As someone who mildly enjoyed the first two films, I had a great time with this one. Turns out that the best way to revitalize a popular franchise starring Will Smith is: a) Get Will Smith back b) Have a soul The action never surpasses the insanity of the second film but I felt like almost every other area of this movie saw an improvement - tone (more heartfelt), humor, music (Mark Mancina's theme being brought back made me so happy), secondary characters (especially the villains) and the overall story. It gave me a similar feeling to the one I had after <em>Fast Five</em>, where I went from being ambivalent about the franchise to eager for a follow-up.
  2. Last year and this year's set of Best Picture nominees have made that Popular Film idea look even worse in hindsight.
  3. While this movie is probably my least favourite of the nominees this year (although I enjoyed it overall), it might boast my favourite awards trajectory of the last few years. The announcement of the project itself, the Venice appearance and Golden Lion, the insane box-office performance, the precursor support, the DGA omission for Phillips which left people questioning the extent to which AMPAS would embrace the film, before culminating in it leading the nominations. This thread will be fun to read back through.
  4. This reminds me of the 2010 and 2014 set of nominees whereby so many categories consist of Best Picture contenders when the individual branches could've gone for much more inspired choices (Screenplay, Acting, Costumes, Film Editing and Sound in particular). Thankfully, The Lighthouse's cinematography wasn't a victim of this. It hurts more when the likes of Awkwafina, Nyong'o and Lopez are recognised by their precursors just to give us hope before AMPAS delivers crushing disappointment. All that being said, there's no Best Picture nominee in that line-up I had mixed or negative feelings towards (unlike last year) and given the way the race is shaping up I'll probably be satisfied with the majority of winners too.
  5. I'll be watching these on my phone on my bus commute home from work, but if Uncut Gems gets nominated for any major categories I may let out a shriek.
  6. I could somewhat subscribe to that line of thinking if they hadn't nominated Robbie and Johansson TWICE, especially the former in the same category. This isn't an outlier either: BAFTA is notorious for overlooking some POC when it comes to big awards e.g. Denzel Washington never being nominated and Barry Jenkins failing to get a Director nomination for Moonlight. I'm absolutely thrilled for Jessie Buckley. Her turn in Wild Rose is one of my top 5 favourite performances from an actress and I was also lucky to see her perform here in Dublin last June where she was brilliant. She has a bright future ahead of her.
  7. It's not out on Netflix in the UK until the end of the month if I'm not mistaken. It has a limited theatrical release on Friday though.
  8. Right now I agree with all of your picks apart the two I've bolded, although I completely understand your reasoning behind those picks. I'm leaning toward The Irishman for Drama right now but I'm tempted to switch to Joker before the ceremony, as the HFPA has set a precedent for selecting the more divisive but commercially successful effort than the safe, expected choice (look at last year for instance). As far as Supporting Actress goes, I have an incline that Dern will start an awards sweep here as Marriage Story ought to win something given its nomination tally, and I also think it's too easy to assume that the HFPA will go for the bigger star in tight races like this one (I've learned my lesson from picking Lady Gaga to win Actress in a Drama last year). This might be tempting fate but I'm actually really excited for the awards season to kick off tomorrow night simply because, for the first time in years, I'm not rooting for certain movies or actors over others - many of my favorite films or performances of 2019 are in serious contention for honors.
  9. In my view: Most jaw-dropping opening weekends of the decade - Endgame, The Avengers, Jurassic World, Deadpool and American Sniper (wide release). Most jaw-dropping runs of the decade - Frozen, Wonder Woman, Get Out, Jumanji: Welcome to the Jungle and The Greatest Showman. 2017 was a blessing for crazy runs wasn't it? Although, Jumanji and The Greatest Showman made most of their money in early 2018. The reason I opted for TGS ahead of movies like Joker is that the narrative shifted so dramatically from the former being labelled a flop to becoming a global smash-hit, whereas with Joker I had an incline from the opening weekend that it was going to end up doing insane business. I feel bad not mentioning The Force Awakens in either of those lists but its performance wasn't as shocking to me once the pre-sale info was revealed, despite the thrill of seeing it generate box-office figures we had never witnessed before.
  10. I was pretty certain that the first 5 minutes of The Social Network was going to be my favorite movie scene of the decade. Then Judi Dench broke the fourth wall at the end and I'm starting to question that view now.
  11. The animosity towards GOT Season 8 seems far more widespread among casuals and hardcore fans of that series than the one generated towards TROS. At least the latter is giving very casual fans (i.e. people who don't engage in the intense SW online discourse) the thrills and spills they want when they enjoy in a huge blockbuster of this scale. The former on the other hand had a surprising lack of crowd-pleasing moments (with the exception of one which was still pretty controversial), under-serving popular characters while hoisting less compelling figures onto a pedestal, and boasting action sequences which by all accounts did not live up to the high expectations people had for them.
  12. The build-up pre-release about the main trio being together is all well and good but when they're on different pages psychologically and have so much stuff to get done, the opportunity for bonding, banter and just a general extension of their friendship (you know, character development) is severely diminished. With TFA, where Rey and Finn's friendship gradually developed over the course of the film because both of them, despite having alternative individual struggles, were solving problems together, meeting key figures together, and escaping from dangerous situations together. In this film, while both of them are together for the first half of the movie, none of the endearing interactions they shared in TFA are allowed to shine through because the movie is so focused on moving from point A to point B.
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