#but no cinematography nom

[lorephobic]

keeping up with awards season has truly turned me into such a vitriolic and bitter person i think the academy should explode and there should be no survivors

[theoscarsproject]

Matewan (1987). A labor union organizer comes to an embattled mining community brutally and violently dominated and harassed by the mining company.

Movies about American unions, particularly American unions in coal country, are remarkably common, but few manage the level of grit, honesty and hope that Matewan does. What a great film! Really drums home the resilience of this community and the challenges of unifying workers when those at the top are all too willing to exploit differences of race, gender and class in order to divide. Just a great, well-made film. 8/10.

[curtsies-from-princess-ashlyn]

Finally saw The Holdovers, and my hot take is it was snubbed for both cinematography and production design noms. Its cinematography accomplished and surpassed what I think Maestro was trying to achieve, and (spicy hot take here) its overall production design impressed me more than Barbie's

[de4d-b0y-g0n3]

mmgh I just wanna bite her. I miss her so much de4d-b0y-g0n3

[doux-amer]

No offense, but actually yes offense, how could Decision to Leave not be nominated in any category at the Oscars. The cinematography is crazy. Park Chanwook is a master and it’s like he took his decades of experience and decided to flex.

[transfemgeorgecostanza]

need to start doing the podcast grind, just so ill be invited on some and can ask these rando dudes with tons of opinions, what *does* make good cinematography or editing.

[einaudis]

I wonder if Oppenheimer will be back in theaters here as well. Because I have this supreme need to go again just for the "Can You Hear the Music?" sequence.

[vampirecorleone]

"I love French wine, like I love the French language. I have sampled every language, French is my favorite. Fantastic language. Especially to curse with. Nom de dieu de putain de bordel de merde de saloperie de connard d'enculé de ta mère. It's like wiping your arse with silk. I love it." Cinematography Appreciation - The Matrix Reloaded (2003) dir. Lana & Lilly Wachowski

[konakoro]

I saw the Oscar nom list and I gotta ask

Who on the Elvis crew blew the academy to get it voted in pretty much E V E R Y category wtf

[laiqualaurelote]

I do not usually have Thoughts on matters like awards but what is up with the Emmy nominations this year. I'm glad Ted Lasso got some noms but it was for the wrong things?! how does Jason Sudeikis get a nom despite phoning in half the season, but no recognition for Nick Mohammed or Toheeb Jimoh? Hannah Waddingham and Juno Temple both somehow in the Best Supporting Actress category? Writing nom for So Long, Farewell but not Sunflowers? Bizarre. But the most egregious omission...

...WHERE IS THE ENGLISH?! Where are the nominations for this, the finest limited series of 2022? Where is Chaske Spencer's Best Actor Award? Why is Episode 5: The Buffalo Gun not being showered with Best Writing, Best Directing, Outstanding Cinematography for the 49 minutes of unrelenting excellence it brought to our screens? Why, for the love of all that is holy, is this show so consistently underrated? This is a travesty and I and the 20 other people in this fandom will be mad about it forever.

[gothicprep]

i have a little bit of time off, and i want to use it to catch up on award season movies. the problem is, of course, that the golden globes is sort of a fake award show. the people who vote on these awards aren’t part of a guild or anything. they’re just guys and dudes. the other problem is that a lot of the nominations don’t hit wide release until well after the awards air.

this is an aside but I love how they have a “cinematic box office achievement” category that’s just shit like alien: romulous, beetlejuice beetlejuice, deadpool & wolverine, gladiator 2, inside out 2, the wild robot, twisters, and wicked pt 1. it’s like saying “we will give a movie you actually watched some laurels so you can tolerate three hours of us giving awards to anora and the brutalist.”

a couple of thoughts outside of that:

I’m happy that the substance has gotten as many nominations as it has. the main issue I had with it when I first saw it was that it was just… so french while ostensibly being commentary on hollywood usa. I’m not going to spoil anything, but near the end of the movie, there’s a nye party that includes a topless kickline. this is DISTRACTINGLY FRENCH. we’re too prudish for that over here! but, the more I thought about it, the more I liked it. I love how deliberate the camera work is in it. it deserves a best cinematography or best director oscar nom for this. it isn’t coralie fargeat’s fault that she’s french and this carries into her work. she has a very clear vision and is able to execute it well.

I don’t love conclave getting a best drama nomination. there are very few movies that I watch and think to myself, “this would have worked better as a miniseries”. this was one of them. I don’t know how to talk about this one without spoiling the ending, but the last 15 minutes of it are so cheesy. it’s a slab of brie for dinner. i saw some people compare a speech at the end to aaron sorkin’s writing, but i walked out being a bit offended on sorkin’s behalf.

my wife (theology nut) saw this with my friends and me, and she went off on how disinterested it was in its catholic universe. it hints at a divide between cardinals in the global north and global south, but it doesn’t do much with this. it doesn’t address doctrinal beef at all. and the ending really skates over what the implications would be for the Catholic Church. someone in the theater we all saw this in loudly said “WHAT?” during the last scene. adrienne suggested that it was a bizarrely nested Trump thing because of how negligent it was in this aspect. a relatively progressive pope dies, and there’s a power struggle involved. liberal cardinals are going against an italian who longs for a pope who speaks latin, makes an event of being racist towards the african cardinal, and rails against muslims during the subplot of this movie where bombs are going off outside the church. this is a real thing in the movie that is never explained. i sort of see what she’s getting at. trump has been an inescapable anti-muse in art and it’s really difficult to not interpret this stuff through that lens. the more I thought about this one, the more of a mess i thought it was.

anyway, those are some golden globes hot takes. I don’t know what else to do with my time right now.

[theoscarsproject]

Star Trek IV: The Voyage Home (1986). To save Earth from an alien probe, Admiral James T. Kirk and his fugitive crew go back in time to San Francisco in 1986 to retrieve the only beings who can communicate with it: humpback whales.

I only have the vaguest recollections of watching this as a kid, so to it really felt like a bit of a gift to have the excuse to see it again, and man, what a gift! Just so full of warmth and good humour in a way that blockbusters these days forget. It's an invitation to hang out with characters you love in a familiar-unfamiliar context, in a way that really hones in on environmental issues of the time (rapidly declining whale populations!). It feels like it shouldn't work, but it just does. 8/10.

[destinyc1020]

I listen to sum film podcasters n Dune 2/Challengers/Inside Out 2 has been a favorite amongst a lot of them, i wuldnt b shocked if they got noms, even if its more technical things like score, visual effects, cinematography. It really is Zs yr tho!

[aipilosse]

ok ok ok I watched 8 out of 10 of the best picture noms this year so I want to do a little Oscar prediction thing. This is kind of a mix of will win and should win, highly unscientific. Block #Oscars 2024 if you want to mute me.

Predictions (only in categories I've actually watched most of the things)!

Actor:

Cillian Murphy

Supporting Actor:

Mark Ruffalo

Actress:

Lily Gladstone

Supporting Actress:

Da'Vine Joy Randolph

Cinematography (this is the category where I can't believe Past Lives wasn't nominated because there were so many shots that were just perfectly composed and breathtakingly beautiful but what do I know):

Killers of the Flower Moon

Costume Design:

Barbie

Directing:

Oppenheimer

Film Editing:

Oppenheimer

Makeup and Hairstyling:

Poor Things

Original Score

American Fiction

Original Song:

I'm Just Ken

Best Picture:

Oppenheimer

Production Design:

Poor Things

Sound:

The Zone of Interest

Writing (Adapted):

The Zone of Interest

Writing (Original):

Anatomy of a Fall

[denimbex1986]

'In a testament to his remarkable acting prowess, Andrew Scott has secured a Golden Globes nomination for his captivating performance in Netflix’s psychological thriller RIPLEY, solidifying his reputation as one of the most versatile actors of his generation.

Scott’s portrayal of Tom Ripley in the critically acclaimed series has earned him a well-deserved nomination in the Best Actor in a Limited Series or Television Film category. Based on Patricia Highsmith’s classic novel “The Talented Mr. Ripley,” the series offers a darker, more nuanced interpretation of the iconic character that Scott brings to life with extraordinary depth and complexity.

Unlike previous adaptations, Scott’s Ripley is a study in psychological manipulation and quiet intensity. His performance strips away the charismatic veneer often associated with the character, instead revealing a more calculating and internally tormented individual. The nomination recognizes Scott’s ability to navigate the intricate psychological landscape of Tom Ripley, presenting a version of the character that is both chilling and uncomfortably human.

The Golden Globes nomination is just one of many accolades for Scott’s performance. Critics have praised his ability to make Ripley simultaneously repulsive and magnetic, a challenging feat that requires immense acting skill. His nuanced portrayal transforms the character from a simple con artist into a complex psychological study of desire, class, and identity.

For Andrew Scott, known for his memorable roles in ALL OF US STRANGERS, FLEABAG and BLACK MIRROR, this nomination represents a significant milestone. It underscores his range as an actor and his capacity to take on challenging, morally ambiguous characters with remarkable insight and subtlety.

RIPLEY, directed by Steven Zaillian, has been lauded for its atmospheric black-and-white cinematography and Scott’s mesmerizing central performance. The series reimagines Highsmith’s narrative with a fresh, contemporary psychological depth that has resonated with both critics and audiences.'

[pynkhues]

I liked Wicked I really did but my thought half way through Better Man was that Better Man is a superior musical and the best Musical I have seen of the year. It does hit the usual beats of a biopics but I didnt mind it because with some very creative direction, choreo, music arrangement etc. It took those beats and made it not to sound corny but about the 'truth' of those moments, not just a series of facts presented as images in a fast transition.

I heard that they decided to use a monkey because they felt it was harder to make a monkey taking cocaine look glamorous and i think they were really cooking with this idea. A cgi monkey as lead character allowed them to really play with how they represented moments and feelings in his story.

Without a doubt one of my faves this year, was really a 'this is why i go to the cinema' moment. I hope that it gets regonized refreshing the genre a bit. I'd love for creative risks to be rewarded esp. when executed so well.

Actually I had an idea that it was going to be good and I was going to like it just because it's the first time in ages a biopic tries something different but i for some reason didnt clock it was going to be a musical and did not expect it to be executed so well.

Hope it inspires future biopics to mess with the forumal a bit, time, space, presentation and so on. No need to reinvent the wheel but some sincerity counts for a lot.

(x)

I liked Wicked too, but actually had the same thought about halfway through Better Man that it was a better musical. I wonder if it is because Wicked carries so much history with it as a show in and of itself, but then, for a lot of people, Robbie Williams does too, and yet this film just felt so fresh and mmm, I guess the word I'd use is raw? Sincere is definitely a good one too though, anon.

The monkey works on so many levels - I'd read that interview too where the director talked about it being more confronting for an audience to watch a chimp snort lines of coke than a man, and I've seen him talk too about Robbie having seen himself as a performing monkey, and the metaphor for addiction as being the monkey-on-his-back, so it feels like it's been really thought-out as a creative decision. I also love what The LA Times critic said about him being a monkey making her feel both protective of him and cautious of him, because I think that's really true too. His otherness as the only animal is only seen by himself and us as the audience, but it really lends itself both to his naked vulnerability and his unpredictability and destructiveness. It's really good, creative filmmaking, and I feel like it's going to be ripe for film analysis long into the future.

And I hope it gets rewarded too! I feel like it should at least get some VFX noms, but I'd love it to get some recognition in editing and cinematography at the very least too, because I think some of the work there was astonishing (that sequence when he drives his car into the water in Come Undone where the electric eels become paparazzi camera flashes is honestly brilliant visual storytelling).

It's so inventive and such a risk that I'm so thrilled Paramount was willing to back, and I really hope it opens up the genre too.