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Post by Nelly on Jan 24, 2017 13:54:42 GMT
14 Oscar Noms! Amazing! Loved this film a lot, have had all the music stuck in my head since I saw it a week ago.
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1,351 posts
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Post by CG on the loose on Jan 24, 2017 14:06:34 GMT
I enjoyed it... but 14 Oscar noms worth? Not sure I'd go that far!
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Post by welsh_tenor on Jan 24, 2017 14:08:11 GMT
14 Oscar Noms! Amazing! Loved this film a lot, have had all the music stuck in my head since I saw it a week ago. I loved this and also keep singing the themes! I can see it doing well and fingers crossed it's a clean sweep! |
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Post by Nelly on Jan 24, 2017 14:09:01 GMT
I enjoyed ... but 14 Oscar noms worth? Not sure I'd go that far! Which would you remove? I think the only one I'm surprised at is the screenplay one. |
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Post by CG on the loose on Jan 24, 2017 14:12:52 GMT
Good question... I haven't thought about it that deeply, and even if I had, I haven't seen enough of the other contenders to judge individual worthiness. I just didn't come out of the cinema feeling like it was a 'sweep the board' kind of film!
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Post by Deleted on Jan 24, 2017 14:30:15 GMT
One of the recurring musical themes sounded enough like the Godfather theme that I spent a fair bit of time trying to work out what they were implying with the Godfather referencing before realising that they were actually playing a cut back version of one of the La La Land tunes. So with that and the underwhelming vocals in mind, although it's fundamentally a musical, I'm not keen on it winning any of the music awards. And with the underwhelming vocals in mind, it's a flipping joke that it's got nominations for Sound Editing and Sound Mixing.
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Post by Deleted on Jan 24, 2017 18:01:03 GMT
I enjoyed ... but 14 Oscar noms worth? Not sure I'd go that far! Which would you remove? I think the only one I'm surprised at is the screenplay one. I'd remove screenplay, sound mixing and sound editing. The sound in the first song was awful. |
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Post by Nelly on Jan 24, 2017 18:03:45 GMT
Which would you remove? I think the only one I'm surprised at is the screenplay one. I'd remove screenplay, sound mixing and sound editing. The sound in the first song was awful. Think I can agree with that. I did find the vocals a bit low in the mix a lot. |
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Post by Deleted on Jan 24, 2017 18:06:31 GMT
Nominations I'd be happy with it winning in bold, with the deserving winners of the others in brackets:
Best Picture (Moonlight)
Best Director
Best Actress (Natalie Portman - Jackie)
Best Actor (Casey Affleck - Manchester By The Sea)
Best Original Screenplay (Manchester By The Sea)
Best Cinematography
Best Film Editing
Best Costume Design (Jackie)
Best Original Score (Moonlight)
Best Original Song (How Far I'll Go - Moana)
Best Production Design
Best Sound Editing (I don't really care but definitely not LLL)
Best Sound Mixing (I don't really care but definitely not LLL)
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Post by distantcousin on Jan 24, 2017 18:28:03 GMT
Lots of my friends agreed with me on this one having something common with Once. Which is obviously the "I believe in you and will make you to believe in you, too", and the bittersweet ending, and a bit moody male character (I immediately imagined a stage version with Arthur Darvill playing that part) Another musical that I found pretty boring and washed over me for the most part... |
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Post by Jon on Jan 24, 2017 18:28:55 GMT
I think most of the nominations are justified, I'm annoyed Amy Adams got snubbed for Meryl!
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Post by Deleted on Jan 24, 2017 18:38:08 GMT
I can't see how it got a nomination for costume design. Modern colourful clothes are hardly Oscar worthy.
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Post by Deleted on Jan 24, 2017 18:39:24 GMT
I loved the costumes, except the hideous baggy jumper Emma wears for her final audition. Not a patch on Jackie's costumes however.
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Post by Deleted on Jan 24, 2017 19:40:38 GMT
I think most of the nominations are justified, I'm annoyed Amy Adams got snubbed for Meryl! I'm annoyed but not surprised, and when you put it in context it's also hilarious (as is Meryl's reaction!). That category was always going to have a "shock" omission even if Meryl hadn't been nominated according to all the critics as Taraji P Henson was also tipped for a nomination for Hidden Figures. I expect La La Land will win Best Picture, Director, Cinematography, Production Design and Editing, and possibly Original Score and Best Actress (I think Huppert is more of a threat to Emma Stone in that category - Natalie Portman doesn't seem to have much momentum). |
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Post by Deleted on Jan 24, 2017 19:45:10 GMT
I think most of the nominations are justified, I'm annoyed Amy Adams got snubbed for Meryl! (I think Huppert is more of a threat to Emma Stone in that category - Natalie Portman doesn't seem to have much momentum). It's hard to say at this point. Her movie doesn't (unfortunately, as it is an incredible film) but her performance has been raved about a lot. Unfortunately, sometimes it doesn't matter how good your performance is if they don't care about your film. So far we've had these winners from televised awards: Critics Choice: Natalie Portman Golden Globes (Comedy/Musical): Emma Stone Golden Globes (Drama): Isabelle Huppert Portman and Huppert have also split the awards from the critics groups. However, Stone is in the Best Picture frontrunner and is exactly the type of actress the Academy likes to award (under 30, never won before). She's easily the weakest of the three though, even if I did enjoy her performance. |
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Post by madsonmelo on Jan 24, 2017 20:31:41 GMT
It will win 11 or 12 Oscars, it's not winning actor and has two songs at the same category, but I guess pic, director, actress, editing, cinematography, production design, costumes, score, song and both sound editing/mixing are in the bag. It will fight for screenplay to break the record and has a slight chance to lose sound editing to Hacksaw Ridge (but the voters don't know the difference so they will vote for LLL in both categories), but even losing in sound editing, I would be really surprised if the movie doesn't take, at least, 10 Oscars.
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Post by mistressjojo on Jan 25, 2017 2:05:20 GMT
Lots of my friends agreed with me on this one having something common with Once. Which is obviously the "I believe in you and will make you to believe in you, too", and the bittersweet ending, and a bit moody male character (I immediately imagined a stage version with Arthur Darvill playing that part)
Thank You! I was trying to tell my friends it reminded me of Once but they weren't having it! No imagination some people! 
I imagine Arthur Darvill quite a bit....and sometimes on stage too. 
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Post by Nicholas on Feb 2, 2017 4:14:41 GMT
Well I just thought this was absolutely blooming wonderful and I loved it to pieces. I’ve already seen it twice and heaven knows how often I’ve heard the soundtrack. It’s just such a wonderful piece of work, heartfelt, heartbreaking, honest. What makes La La Land work so well for so many people is yes, Jacques Demy’s clearly inspired a lot about this, and more crucially Gene Kelly’s ballets have clearly inspired a lot about this, but it’s not twee, it’s not tacky, it’s not reverential, it’s not pastiche. Through and through and through and through this is a Damian Chazelle movie – the product of a singular vision and extraordinary talent. It’s so crowd-pleasing because of how wonderfully individual it is.
It’s the most beautiful film I’ve seen in some time. Frankly it’s all I could think at moments (which isn’t to say the rest of it was lacking – I just thought it was so beautiful). Even in its most incidental moments of quiet conversation, the costumes are so elegant, the colours just that bit more vibrant, the shots so well framed – and in its least incidental moments, the glitz! The glamour! The colour! The life! Looked like a million dollars, whether looking into the stars themselves or Emma Stone’s eyes. What’s particularly wonderful is how it manages to make the most mundane moments so beautiful – a traffic jam, high-street clothing, a simple piano duet – and because the visual beauty comes from these moments, moments mostly based in believable character, the beauty actually matters, the beauty actually means something, and that makes the less beautiful moments hurt, and the more beautiful moments even more beautiful. With its own visual identity too – I didn’t feel it was references galore, I felt it was Chazelle’s vision infused with influences. Truly beautiful.
But after that – which is impossible to get over (when you think it can’t look more lovely they only bloody go to space! It takes real chutzpah to get away with that sincerely, and this absolutely did) – I think, like with his Whiplash (which I also loved) and Guy and Madeline (which is fully of fun and hugely enjoyable in its own way), Chazelle makes films which use music as much as a starting point for uncompromising arguments about reality. Whiplash had a more complex argument – that of how far is too far, that of what makes a genius a genius, that of how tight is too tight a T-shirt for JK Simmons – but I don’t think La La Land is any less serious about its music or its characters or its reality either. Chazelle doesn’t skimp on the realities of compromise. I don’t think literature students will be pouring over essays about it, true, but I think what’s made it hit such a nerve is it’s not just lovely – it’s realistic too. It’s willing to make its characters professional failures and live difficultly, it’s willing to depict the reality of paying the rent and working hard for what you love. It’s got that ending too. It has bittersweetness, it has melancholy, it has a real edge when it comes down to it. But it’s tempered with such absolute loveliness, such love for its characters (and such beauty, did I mention its beauty?) that it’s sweet, it’s lovely, it’s life-affirming, it’s honest, it’s wonderful. And they’re just great. Gosling channels Brando in Guys and Dolls in his singing but that’s no bad thing when he’s as committed as he is here – I also can’t get my head around the criticism of his character because of how wonderfully deadpan and self-mocking he plays it, more like Brando meets Buster Keaton. But it’s Stone’s movie. It’s Stone who’s got the raw honesty and physicality of a young Brando. She’s got that rare gift of being able to honestly show two emotions at once, or to outwardly hide an emotion but communicate her feelings somehow. She’d dance away with the movie, were it not that their chemistry is so strong it’s a beautiful double act. It’s not Fred and Ginger, but it’s Stone and Gosling, and thank goodness for that. It's an unsentimental delight, a great film from a great writer/director, and I think it's absolutely brilliant.
Extra points, too, for an extra pointy JK Simmons.
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Post by rumbledoll on Feb 2, 2017 20:00:39 GMT
Great review, Nicholas! Makes me wanna see it again! And again.. I absolutely adored it and at times it felt like it was shot just for me alone so much it brought home and rang true about in my own view of life. They certainly don't make films like this anymore! Maybe that's why it's so joyful. It has everything my cinema-loving soul can ever wish for.
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Post by Dave25 on Feb 2, 2017 23:42:22 GMT
Wonderful review Nicholas. That's very well written and exactly how I felt.
This film is sheer beauty and sheer tragedy, and the beauty lies in many different things.
There are just too many moments to mention.
It's just that this film clicked with me in so many ways, I recognized the view of the director in almost every scene, as how I see life. Even the first scene got me teary-eyed, because of the positive feel created in a silly thing like a traffic jam. I also think this film is a great homage to the struggling actor (artist), I completely recognize the struggle Mia goes through, the fight, the strange feeling at parties, like it feels as if you don't belong, like everyone around you is moving in slowmotion (brilliant scene, so simple and yet so effective), to the way casting directors treat you, the impossible situations at castings, side-jobs with people who don't care, people in the business bragging about how successful they surely will be, to hearing the technicians/stage guys speaking about her in a very disrespectful way about her solo performance (that she should shoot herself), really, I have heard things like that that happen. many times. Then the struggle to convince herself to go on or to quit the business. And all the little moments in between, such as her roommates/girlfriends attending her performance as one of the few people there and clapping really hard to encourage her, to the moments that just convey a feel/emotion, such as the walk on the pier and the evening dance in the hills.
Now, the other story line is so wonderful too in my opinion because it is anything but cliche. Sometimes you meet people in your life that you are fond of, and you share something amazing with, but that does not necessarily mean you should end up in a relationship whatsoever. There are more ways in life to be fond of someone. We can only guess what happened in those 5 years and why she had a child with the other guy, but in the end, what I saw in that final scene were 2 people who hold a very special place in their heart for eachother, both fully understanding and respecting eachothers journey. Respecting eachother for life. There is more to life than meeting someone and staying together forever.
This whole film is nothing like the montage at the end, and yet it makes it even more beautiful to show it and make yourself question what life is really about. This film is very tragic and very beautiful.
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Post by freckles on Feb 12, 2017 11:22:56 GMT
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Post by Deleted on Mar 3, 2017 23:15:27 GMT
Let's just say it should not have won that screenplay award. I question whether it should have even been nominated for it. I feel a backlash coming unfortunately.Well, I predicted it! There was just that atmosphere whilst watching the Golden Globes that night when it broke the record for wins. You could feel the audience getting antsy, getting tired of it. And then when Moonlight won their first award of the night - Best Drama - the audience screamed and finally gave a standing ovation. Then the Oscar nominations being announced so soon after, and it tying the record there. Both of these things, the Globe wins and the 14 Oscar noms harmed the movie in my opinion. It made people reevaluate whether it was actually worthy of them. Then all these articles started getting published in the week before Oscar voting closed about how overrated it was. You could feel the same mood of the Globes watching the Oscars. People got on their feet when Moonlight won Best Adapted Screenplay but not when La La Land won Best Director, the more important award. Film studios should learn a lesson from this and that's that it's never a good thing to have your movie be such an undeniable frontrunner from beginning of award season to end. You need to have some form of underdog status or else your movie may just fumble at the very last minute, although hopefully not in such a dramatic way as La La Land did. Losing was the best thing that could happen for La La Land though. The backlash has eased enormously already, especially with the added sympathy of how it happened. Have to laugh at this final post-Oscars advert they've released though, so much sadder in tone than all of their others: A fascinating award season and Oscars that people will look back on for years to come. |
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Post by Stasia on Mar 4, 2017 6:27:27 GMT
Wanted to share with you a Russian parody - Moscowland.
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Post by Mr Snow on Mar 5, 2017 8:35:27 GMT
Saw this for the second time last month at the Monlight cinema, Maapalomas, Gran Canaria. What time dis it start? Why just as soon as it gots dark. I hadnt' noticed how many scenes were shot outdoors and having the scren blend with the night sky was fantastic.
But I digress. As one of the reviewers above points out, what's truly amazing is the colour and look of the film. What struck me was the influence that none of the professional reviewers spotted, were the films of Vincinte Minelli.
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