2015 Oscar Nominations are out.

Your choice for Best Picture

  • Total voters
    10
  • Poll closed .
^ Moore was good in Still Alice. Marion Cotillard was good, too.

Finally, saw Foxcatcher, interesting. Steve Carrell did a good job there.
 
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I still cannot accept the fact that they've nominee The Theory of Everything. That is, seriously, one of the most boring pieces of film I've ever had the displeasure to watch. To see grass growing on asphalt would be more entertaining.
 
augustobt said:
I still cannot accept the fact that they've nominee The Theory of Everything. That is, seriously, one of the most boring pieces of film I've ever had the displeasure to watch. To see grass growing on asphalt would be more entertaining.
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They had to nominate something I guess, pretty weak year overall for film...

You could make a list of films that didn't even get nominated in 1999/2000 that are better than all these nominated films...Those 2 years were absolutely awesome, might never see years like that again.
 
augustobt said:
I still cannot accept the fact that they've nominee The Theory of Everything. That is, seriously, one of the most boring pieces of film I've ever had the displeasure to watch. To see grass growing on asphalt would be more entertaining.
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I loved it. I grew up reading his books so I felt something personal while watching it.


Read an article in my papers here in India about Selma -- said that LBJ was wrongly represented.
 
Bad_Knee said:
They had to nominate something I guess, pretty weak year overall for film...

You could make a list of films that didn't even get nominated in 1999/2000 that are better than all these nominated films...Those 2 years were absolutely awesome, might never see years like that again.
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1999 was a good year,but I don't see how 2000 was better than any other year in the 2000s...
 
My predictions:

Best Film: Birdman

Best Director: Alejandro G. Iñárritu (Birdman)

Best Actor: Eddie Redmayne (The Theory of Everything)

Best Actress: Julianne Moore (Still Alice)

Best Supporting Actor: J.K. Simmon (Whiplash)

Best Supporting Actress: Patricia Arquette (Boyhood)

Best Adapted Screenplay: The Imitation Game

Best Original Screenplay: The Grand Budapest Hotel

Best Animated Feature: How To Train Your Dragon 2

Best Cinematography: Birdman

Best Costume Design: The Grand Budapest Hotel

Best Documentary Feature: CitizenFour

Best Documentary Short: Crisis Hotline

Best Film Editing: Boyhood

Best Foreign Language Film: Ida

Best Makeup: The Grand Budapest Hotel

Best Original Score: The Grand Budapest Hotel

Best Original Song: Glory (Selma)

Best Production Design: The Grand Budapest Hotel

Best Short (Animated): Feast

Best Short (Live Action): The Phone Call

Best Sound Editing: American Sniper

Best Sound Mixing: Whiplash

Best Visual FX: The Dawn of the Planet of the Apes

Predicted multiple wins:.

The Grand Budapest Hotel: 5
Birdman: 3
Whiplash: 2
Boyhood: 2
 
My predictions, as I posted on my website:

BEST VISUAL EFFECTS: Dawn of the Planet of the Apes
BEST SOUND EDITING: American Sniper
BEST SOUND MIXING: Whiplash
BEST ANIMATED FILM: How to Train Your Dragon 2
BEST FOREIGN FILM: Ida
BEST SUPPORTING ACTOR: JK Simmons
BEST SUPPORTING ACTRESS: Patricia Arquette
BEST ACTOR: Eddie Redmayne
BEST ACTRESS: Julianne Moore
BEST DIRECTION: Boyhood
BEST FILM: Birdman

Best Director & Best Film:
The debate of the year: Boyhood vs. Birdman. Boyhood won the Golden Globe, but in the last stretch, Birdman won the Screen Actors Guild, Producers Guild and Directors Guild. And THEN, Boyhood won the British Academy’s Award. This is possibly the tightest Oscar race in recent years. I’m going on a limb here, and I’ll say the Academy will award both movies inverting the statuettes. However wins Best Director, the other one will win Best Movie. If Boyhood wins Best Director, Birdman takes the cake. If Birdman wins Best Director, then Best Movie goes to Boyhood.

Boyhood wins Director, Birdman wins Best Film.

Which one deserves to win? Between Boyhood and Birdman, in my humble opinion, Boyhood deserves to win a tad more. But both were terrific flicks. The Academy Awards are less about who DESERVES to win and more about WHAT MOVIE is more appealing to the Judges’ taste. Boyhood was a 12 years long effort. Absolutely amazing. And Birdman was fantastic from the get go, montage, acting, cinematography, everything. It will be a dogfight. I would award both flicks, but I’m sticking with my own prediction. Both deserve both Directing and Best Film, so I won’t be surprised whoever wins. If an outsider wins, it will be the upset of the decade. I have Grand Hotel Budapest as #3 in the Best Film race.

http://www.andresguazzelli.com/2015/02/22/academy-awards-2015-predictions/
 
Sentinel said:
I loved it. I grew up reading his books so I felt something personal while watching it.
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Seriously, you're probably the first person I've seen making any kind of compliment about that movie.

Interstellar, Nightcrawler and Gone Girl were absolutely better than either Gran Hotel Budapest and Theory of Everything.
 
With the only possible exception of Whiplash (which I have yet to see), none of these nominated features are classics that will stand the test of time. Not sure if there have been any in recent years that I'd potentially rank that high, unless you count Sorrentino's The Great Beauty which won the 2013 Best Foreign Language Film. (Among this year's Foreign Language nominees Ida looks promising and of course Godard's latest 3D adventure won the plaudits if not from the Academy itself, but again I haven't seen either yet.)

Anyway despite the usual collective moaning about their gradual degeneration the Oscars were always PR before anything else but at the same time a telling barometer of our culture, so let's not spoil the party as it's about to start. A few personal notes:

- Among the current noms I liked Birdman best. Critics have fairly dissed it for its black-and-white and possibly mean-spirited portrayal of show business, but some of the criticism comes across as rather self-serving so the joke is on them. I expect Keaton to stave off a big upset this year.

- I don't really expect Oscar fare to create the extraordinary out of ordinary characters/situations a la Naruse or Kiarostami, but did we really need not one but four biopics based on historical figures/events?

- Boyhood is actually a fine film and Linklater will probably grab Best Director. What really galls about its near universal adulation is the rather disingenuous "form informs function" or "none of this would matter if not the story..." line trotted out by the lemmings aka movie critics, when the question they should be asking is whether they'd ever gravitate toward such lazy groupthink if the movie did NOT happen to be shot over 12 years, or if using the same lead, who almost all agree in this case is inadequate, before he even has a chance to prove himself is both artistically and morally preferable to good old-fashioned casting.

- Can't still quite warm to Anderson's oh-so-twee aesthetic, but good to see him receiving his due despite Grand Budapest being one of his least characteristic works.

- The number of numbskulls that have dismissed American Sniper as pro-war jingoism shows quite clearly that these self-professed arbiters of taste are still sorely in need of a crash course in The Iliad or War and Peace. More perceptive observers like Dana Stevens of Slate and Jesse Walker of Reason have accurately described it as what it is: a war-weary piece. Or an elegy for the soldiers, with a twist that gives neither side a break which breaks it due to its muddled philosophy itself.

Eastwood did a better job with a more ambitious dualist conceit in Flags of Our Fathers/Letters from Iwo Jima, particularly the latter which remains along with Mystic River his best work since the '90s.

- Oh, and my vote for Best Dressed this night goes to Dakota Johnson. Hope this year's ceremony is better than usual.
 
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NonP said:
With the only possible exception of Whiplash (which I have yet to see), none of these nominated features are classics that will stand the test of time. Not sure if there have been any in recent years that I'd potentially rank that high, unless you count Sorrentino's The Great Beauty which won the 2013 Best Foreign Language Film. (Among this year's Foreign Language nominees Ida looks promising and of course Godard's latest 3D adventure won the plaudits if not from the Academy itself, but again I haven't seen either yet.)

Anyway despite the usual collective moaning about their gradual degeneration the Oscars were always PR before anything else but at the same time a telling barometer of our culture, so let's not spoil the party as it's about to start. A few personal notes:

- Among the current noms I liked Birdman best. Critics have fairly dissed it for its black-and-white and possibly mean-spirited portrayal of show business, but some of the criticism comes across as rather self-serving so the joke is on them. I expect Keaton to stave off a big upset this year.

- I don't really expect Oscar fare to create the extraordinary out of ordinary characters/situations a la Naruse or Kiarostami, but did we really need not one but four biopics based on historical figures/events?

- Boyhood is actually a fine film and Linklater will probably grab Best Director. What really galls about its near universal adulation is the rather disingenuous "form informs function" or "none of this would matter if not the story..." line trotted out by the lemmings aka movie critics, when the question they should be asking is whether they'd ever gravitate toward such lazy groupthink if the movie did NOT happen to be shot over 12 years, or if using the same lead, who almost all agree in this case is inadequate, before he even has a chance to prove himself is both artistically and morally preferable to good old-fashioned casting.

- Can't still quite warm to Anderson's oh-so-twee aesthetic, but good to see him receiving his due despite Grand Budapest being one of his least characteristic works.

- The number of numbskulls that have dismissed American Sniper as pro-war jingoism shows quite clearly that these self-professed arbiters of taste are still sorely in need of a crash course in The Iliad or War and Peace. More perceptive observers like Dana Stevens of Slate and Jesse Walker of Reason have accurately described it as what it is: a war-weary piece. Or an elegy for the soldiers, with a twist that gives neither side a break which breaks it due to its muddled philosophy itself.

Eastwood did a better job with a more ambitious dualist conceit in Flags of Our Fathers/Letters from Iwo Jima, particularly the latter which remains along with Mystic River his best work since the '90s.

- Oh, and my vote for Best Dressed this night goes to Dakota Johnson. Hope this year's ceremony is better than usual.
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Most likely,the only movie so far this decade that will be remembered as a classic is this:
large_5uiccn657MLiAbVHS5SfWFdeSTw.jpg
 
Midaso240 said:
I remember seeing Maria Sharapova with a big stack of movies that was nominated for some awards. She must be a member of the Screen Actor's Guild,I think you only have to be in a commercial to be a member...
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The Oscars are voted on by the academy members. There are quite a few SAG members that are also members of the academy, though. SAG members can see all the SAG-nominated films for free.

All academy members get copies of every film nominated sent to them and whatever film the studio/backers want to promote for awards. My friends who are academy members have a massive collection of movies. Of course it becomes too much after awhile, so you'll often see the academy copies donated to goodwill, etc. later on.
 
Midaso240 said:
Most likely,the only movie so far this decade that will be remembered as a classic is this:
large_5uiccn657MLiAbVHS5SfWFdeSTw.jpg
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I'm not saying it's not a good film, I like it, but it certainly wont be remembered as a classic, for one reason it wasn't loved by the masses, I think most people I talked to turned it off after 20 minutes, 6.7 on IMDB, just not enough people go it...This is a movie for only a certain type of viewer. From what I remember it received mixed reviews from the critics too.

A classic to me seems to transcends taste, and is almost impossible not to be impressed by, very few fall into this category.
 
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Anyone else think Neil Patrick Harris is completely failing as a host? A lot of his jokes have been off, or badly timed...I think he's only slightly better than the Hathaway/Franco combo....Just let Ellen or Billy do it every year.
 
Some results are out.

Best documentary feature
Citizenfour - Laura Poitras, Mathilde Bonnefoy and Dirk Wilutzky

Film editing
Whiplash — Tom Cross

Cinematography
Birdman — Emmanuel Lubezki

Production design
The Grand Budapest Hotel — Adam Stockhausen and Anna Pinnock

Best animated feature
Big Hero 6 — Don Hall, Chris Williams and Roy Conli

Best animated short

Feast — Patrick Osborne and Kristina Reed

Achievements in visual effects
Interstellar — Paul Franklin, Andrew Lockley, Ian Hunter and Scott Fisher

Best actress in a supporting role
Patricia Arquette — Boyhood

Sound editing
American Sniper — Alan Robert Murray and Bub Asman

Sound mixing
Whiplash — Craig Mann, Ben Wilkins and Thomas Curley

Best documentary short subject
Crisis Hotline: Veterans Press 1 — Ellen Goosenberg Kent and Dana Perry

Best live action short film
The Phone Call — Mat Kirkby and James Lucas

Best foreign language film
Ida — Poland

Makeup and hairstyling
Frances Hannon and Mark Coulier — The Grand Budapest Hotel

Costume design
Milena Canonero — The Grand Budapest Hotel

Best actor in a supporting role
J.K. Simmons — Whiplash
 
Midaso240 said:
Most likely,the only movie so far this decade that will be remembered as a classic is this:
large_5uiccn657MLiAbVHS5SfWFdeSTw.jpg
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Like most Malick flicks The Tree of Life does almost nothing for me. I like Malick's ideas better than his storyboard and execution.

BTW the films I mentioned qualify as classics. Sorrentino has been called Felliniesque for more good reasons than bad and The Great Beauty I daresay may be as good as anything by his more famous predecessor, if not even better. I'll need to see it more one time before I can equivocate less. And Eastwood's Letters from Iwo Jima and maybe Mystic River (the latter at times suffers from his ambivalence towards violence as a badge of masculinity, a remnant of his thespian phase, which he has yet to fully renounce) I'd put above Tree of Life as well.

And if you want to go a bit further I agree with Sight & Sound for once that Wong Kar-wai's In the Mood for Love and Lynch's Mulholland Drive rank above the Malick. Mood for Love is a remarkably restrained film for Wong, which is why it works, and MD I'm guessing most posters are familiar with.

Bad_Knee said:
I really wish something unpredictable would happen :/
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I haven't seen any of the animated features yet, but isn't Big Hero 6 supposed to be an upset? Tonight's best reaction will probably go to its directors' wives and cast, I think.

And the best acceptance speech belongs to Paweł Pawlikowski. Succinct, self-deprecating, touching and heartfelt. Laura Poitras is the runner-up for making necessary political points while remaining selfless and without being inconsiderate and condescending to the audience, which sure ain't easy for anyone, let alone for an introvert like her.

As for the jeers... the whole "Glory" performance, ugh. You really can't win against kitsch but they could've toned it down a little. "Everything Is Awesome" from The LEGO Movie should've won.

Bad_Knee said:
Lady Gaga, epic! Didn't know she was that good.
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Among today's pop songtresses Gaga is probably second only to Xtina in vocal prowess. And she loves her musical theater. The girl is a tremendous talent, IMO the most ingenious since Madonna. In fact her discography is already gaining on the Material Girl's and I expect her to eclipse her (indirect) mentor by the end of their respective careers, though she'll probably never match her in sheer cultural influence for obvious reasons.
 
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I am checking the results on google and one or two links.

Why are no more results coming out. Nothing updated since my last post....

What about best pic, director, and the two leading role awards ?????


Selma wins one for Original Song ...
 
Bad_Knee said:
I'm not saying it's not a good film, I like it, but it certainly wont be remembered as a classic, for one reason it wasn't loved by the masses, I think most people I talked to turned it off after 20 minutes, 6.7 on IMDB, just not enough people go it...This is a movie for only a certain type of viewer. From what I remember it received mixed reviews from the critics too.

A classic to me seems to transcends taste, and is almost impossible not to be impressed by, very few fall into this category.
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It was the most acclaimed film of 2011 and the 2010s by critics. The general audience will take a while to come around,just as they did for 2001:A Space Odyssey

http://www.fandor.com/keyframe/the-best-films-of-the-decade-so-far-2010-2014
 
NonP said:
Like most Malick flicks The Tree of Life does almost nothing for me. I like Malick's ideas better than his storyboard and execution.

BTW the films I mentioned qualify as classics. Sorrentino has been called Felliniesque for more good reasons than bad and The Great Beauty I daresay may be as good as anything by his more famous predecessor, if not even better. I'll need to see it more one time before I can equivocate less. And Eastwood's Letters from Iwo Jima and maybe Mystic River (the latter at times suffers from his ambivalence towards violence as a badge of masculinity, a remnant of his thespian phase, which he has yet to fully renounce) I'd put above Tree of Life as well.

And if you want to go a bit further I agree with Sight & Sound for once that Wong Kar-wai's In the Mood for Love and Lynch's Mulholland Drive rank above the Malick. Mood for Love is a remarkably restrained film for Wong, which is why it works, and MD I'm guessing most posters are familiar with.



I haven't seen any of the animated features yet, but isn't Big Hero 6 supposed to be an upset? Tonight's best reaction will probably go to its directors' wives and cast, I think.

And the best acceptance speech belongs to Paweł Pawlikowski. Succinct, self-deprecating, touching and heartfelt. Laura Poitras is the runner-up for making necessary political points while remaining selfless and without being inconsiderate and condescending to the audience, which sure ain't easy for anyone, let alone for an introvert like her.

As for the jeers... the whole "Glory" performance, ugh. You really can't win against kitsch but they could've toned it down a little. "Everything Is Awesome" from The LEGO Movie should've won.



Among today's pop songtresses Gaga is probably second only to Xtina in vocal prowess. And she loves her musical theater. The girl is a tremendous talent, IMO the most ingenious since Madonna. In fact her discography is already gaining on the Material Girl's and I expect her to eclipse her (indirect) mentor by the end of their respective careers, though she'll probably never match her in sheer cultural influence for obvious reasons.
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I'm not saying I'm a big fan of Tree Of Life or anything,this is just the reality. It will probably go down as the best film of it's time in the eyes of critics...
 
Best picture

Birdman

Best actress in a leading role

Julianne Moore - Still Alice

Best actor in a leading role

Eddie Redmayne - The Theory of Everything

Best director

Alejandro G. Iñárritu - Birdman

Best adapted screenplay

The Imitation Game - Graham Moore

Best original screenplay

Birdman - Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. & Armando Bo

Best original score

The Grand Budapest Hotel - Alexandre Desplat
 
Geez, just when I thought the Oscars might finally manage to be not so much predictable.... Was really pulling for Keaton there. Definitely surprised to see Birdman sweep both Director and Film.

Midaso240 said:
I'm not saying I'm a big fan of Tree Of Life or anything,this is just the reality. It will probably go down as the best film of it's time in the eyes of critics...
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You really shouldn't rely on the critics so much, especially when it comes to recent films. Battleship Potemkin and The General used to be considered among the best ever, and I guarantee you the critical picks of today will look a whole lot different tomorrow.

If you feel so strongly about it you should instead try to explain why in your own terms. Otherwise you're just parroting someone else's words, which is not the best way to convince an unsympathetic audience.
 
Bad_Knee said:
Of the Major awards, they only got 2 right IMO, best leading and supporting actress.

5am, bed time :)
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Who would you award supporting actor to over JK Simmons?

NonP said:
Geez, just when I thought the Oscars might finally manage to be not so much predictable.... Was really pulling for Keaton there. Definitely surprised to see Birdman sweep both Director and Film.



You really shouldn't rely on the critics so much, especially when it comes to recent films. Battleship Potemkin and The General used to be considered among the best ever, and I guarantee you the critical picks of today will look a whole lot different tomorrow.

If you feel so strongly about it you should instead try to explain why in your own terms. Otherwise you're just parroting someone else's words, which is not the best way to convince an unsympathetic audience.
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I don't feel strongly about it,I think I only gave Tree Of Life 75/100 on criticker. Those 2 films are still indeed ranked among the greatest ever...
 
Midaso240 said:
I don't feel strongly about it,I think I only gave Tree Of Life 75/100 on criticker. Those 2 films are still indeed ranked among the greatest ever...
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Have you actually seen the two films? Nobody gives a crap about Battleship Potemkin except for its Odessa Staircase episode, which admittedly remains the single most influential montage in film history, but without that it'd be known as what it actually is: skillful propaganda with a dutifully cartoonish message.

The General fares better since it comes without the same toxic agitprop, but Keaton made more diverting comedies like Sherlock, Jr. and Steamboat Bill Jr. And even a lesser effort like Seven Chances features a highly imaginative set piece where Keaton tries to dodge hundreds of rolling boulders while trying to get hitched by 7 pm the same day for his inheritance. The General for all its charms never quite reaches the same comedic heights.

But my point here was that both films aren't as highly regarded now as they once were. The latest critics' S&S poll has Potemkin in 11th and The General in 34th place, and the directors' poll has both way further down in 75th each. Who knows, maybe in a decade or so we may not be able to see either film on the list. All the more reason not to rely on the critics too much when evaluating something recent.
 
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rommil said:
Best Picture should have gone to Fognini vs Nadal in Rio:)
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Sorry, but 2015 releases cannot qualify for this award. The 2014 AO final was nominated and was a heavy favourite, though, for best actor in a supporting role (Rafa). He would have won if Kubrick directed it ;)
 
NonP said:
Have you actually seen the two films? Nobody gives a crap about Battleship Potemkin except for its Odessa Staircase episode, which admittedly remains the single most influential montage in film history, but without that it'd be known as what it actually is: skillful propaganda with a dutifully cartoonish message.

The General fares better since it comes without the same toxic agitprop, but Keaton made more diverting comedies like Sherlock, Jr. and Steamboat Bill Jr. And even a lesser effort like Seven Chances features a highly imaginative set piece where Keaton tries to dodge hundreds of rolling boulders while trying to get hitched by 7 pm the same day for his inheritance. The General for all its charms never quite reaches the same comedic heights.

But my point here was that both films aren't as highly regarded now as they once were. The latest critics' S&S poll has Potemkin in 11th and The General in 34th place, and the directors' poll has both way further down in 75th each. Who knows, maybe in a decade or so we may not be able to see either film on the list. All the more reason not to rely on the critics too much when evaluating something recent.
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LOL,both films are in the top 40 most acclaimed films of all time after 80 years,I think it's fair to say they've stood the test of time. If I thought of films that have decreased gradually over time,I'd be thinking more of things like Birth Of A Nation,The Graduate,Sound Of Music...
 
Midaso240 said:
LOL,both films are in the top 40 most acclaimed films of all time after 80 years,I think it's fair to say they've stood the test of time.
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Nobody is saying these are 2nd-rate films that deserve to be forgotten. Just for the staircase montage alone Potemkin will remain relevant as long as cinema itself remains relevant, and one of Keaton's most accomplished works is by definition worthy.

But you still haven't acknowledged my point, that these two are not as rated highly as they used to be. Several decades ago both used to be ranked in the top 10, the creme of the crop; now their falling out of the top 100 is a real possibility, and one I say is a correct accounting of taste.

If I thought of films that have decreased gradually over time,I'd be thinking more of things like Birth Of A Nation,The Graduate,Sound Of Music...
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Apart from the AFI 100 (which, let's not forget, ranked only English-language studio flicks) I really don't know of any industry ranking in the past several decades that had these films among the very top. Anyway you glossed over another one of my points, namely that you should try to judge these films in your own words rather than rely on others to make these assessments for you. There are plenty of choices in those rankings that one (including highly respected critics, BTW) can take issue with--for example Tokyo Story wouldn't even crack the top 5 of my own best Ozu films. And I'm prepared to explain and defend my own rankings. Perhaps you are with yours as well, but if so you need to show it better.
 
NonP said:
Nobody is saying these are 2nd-rate films that deserve to be forgotten. Just for the staircase montage alone Potemkin will remain relevant as long as cinema itself remains relevant, and one of Keaton's most accomplished works is by definition worthy.

But you still haven't acknowledged my point, that these two are not as rated highly as they used to be. Several decades ago both used to be ranked in the top 10, the creme of the crop; now their falling out of the top 100 is a real possibility, and one I say is a correct accounting of taste.



Apart from the AFI 100 (which, let's not forget, ranked only English-language studio flicks) I really don't know of any industry ranking in the past several decades that had these films among the very top. Anyway you glossed over another one of my points, namely that you should try to judge these films in your own words rather than rely on others to make these assessments for you. There are plenty of choices in those rankings that one (including highly respected critics, BTW) can take issue with--for example Tokyo Story wouldn't even crack the top 5 of my own best Ozu films. And I'm prepared to explain and defend my own rankings. Perhaps you are with yours as well, but if so you need to show it better.
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Very negligable decreases,since 2006 on TSPDT:
The General: 26 → 27 → 27 → 30 → 27 → 28 → 31 → 36 → 36 → 35
Battleship Potemkin: 12 → 12 → 12 → 8 → 10 → 10 → 10 → 11 → 11 → 11

If I gloss over some of the highest ranking films,some of the ones I got no particular enjoyment from were:

The Searchers (1956)
Night Of The Hunter (1955)
Rosemary's Baby [1968]
Performance (1970)
Seventh Seal (1957)
Wavelength (1967)
 
Midaso240 said:
Very negligable decreases,since 2006 on TSPDT:
The General: 26 → 27 → 27 → 30 → 27 → 28 → 31 → 36 → 36 → 35
Battleship Potemkin: 12 → 12 → 12 → 8 → 10 → 10 → 10 → 11 → 11 → 11
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I thought you were referring to the S&S lists exclusively, also we're talking about a span of only 10 years. Anyway I gather that you've gotten point by now.

If I gloss over some of the highest ranking films,some of the ones I got no particular enjoyment from were:

The Searchers (1956)
Night Of The Hunter (1955)
Rosemary's Baby [1968]
Performance (1970)
Seventh Seal (1957)
Wavelength (1967)
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That's fine. I just think you should be more willing to consider and share why you think/feel that way. You seem like a genuine movie buff, and while having to explain your tastes may be hard it also increases your appreciation and enjoyment of your favorite movies immensely.
 
NonP said:
I thought you were referring to the S&S lists exclusively, also we're talking about a span of only 10 years. Anyway I gather that you've gotten point by now.



That's fine. I just think you should be more willing to consider and share why you think/feel that way. You seem like a genuine movie buff, and while having to explain your tastes may be hard it also increases your appreciation and enjoyment of your favorite movies immensely.
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I like They shoot pictures,because it combines S & S and many other lists into one ranking.

Yes,you're right,it is fairly hard to write about movies. My all time favourite film might be Taxi Driver,but if I was put on the spot and asked why I love it so much,I'd be lucky to make it to a paragraph. I'd have to really think about things that struck a chord,beyond the obvious like De Niro's performance and the music...
 
I feel that Saving Christmas was cheated by the partisan and lobby-loving politburo that is the AMPAS. It was my personal film of 2014.

Kirk Cameron fully employs his enormous talents as an actor, running the gamut between "pretty serious" and "pretty not-serious," as he explains to his brother-in-law, Christian White (symbolic of Christianity at its finest: white) the meaning of Christmas.

The movie is half comedy, half drama, and half philosophy, making a film and a half in which the true meaning of Christmas comes to the sum total of:

Christmas trees.

I also think the film got shafted on a number of other awards, including a Best Director for cinematic genius Darren Doane. Check out this powerful scene.

It's gold, Jerry. Gold.
 
Midaso240 said:
Yes,you're right,it is fairly hard to write about movies. My all time favourite film might be Taxi Driver,but if I was put on the spot and asked why I love it so much,I'd be lucky to make it to a paragraph. I'd have to really think about things that struck a chord,beyond the obvious like De Niro's performance and the music...
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You might wanna check out this link then, not just for the extensive essay on your favorite film but also to see how to write about those elusive things:

http://www.jonathanrosenbaum.net/2015/02/hell-on-wheels/

Of course I'm not saying you should be as good as Rosenbaum. Few are, but that's why he's a critic and not a reviewer that so many of the professional critics are. A true critic makes the implicit explicit for his audience and brings unforeseen things to their attention.
 
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