I love Moneyball. It totally should have won over The Artist.Do keep in mind that virtually every other BP nominee that year, with the possible exception of The Tree of Life, was pretty unremarkable:
Extremely Loud and Incredibly Close
The Descendants
The Help
Hugo
Midnight in Paris
Moneyball
War Horse
Do keep in mind that virtually every other BP nominee that year, with the possible exception of The Tree of Life, was pretty unremarkable:
Extremely Loud and Incredibly Close
The Descendants
The Help
Hugo
Midnight in Paris
Moneyball
War Horse
Lost in Translation, Mystic River, Master & Commander, and Seabiscuit.Return of the King won best picture? That's fucking crazy. What else was nominated that year?
Return of the King won best picture? That's fucking crazy. What else was nominated that year?
Return of the King won best picture? That's fucking crazy. What else was nominated that year?
I can't believe all the Gump hate in here. Shame on you.
12 years a slave. I ... just don't know, maybe someone can help me understand why I should find it good or profound or whatever it was supposed to be.
I really don't hate Titanic, but there had to have been a better movie released that year, right? I fell asleep at least 3 separate times trying to watch it, it's just so incredibly by-the-book boring to me.
It's not that it's bad, it's very 'meh', and that's not suitable criteria for Best Picture. I'd argue that every other movie up for the honor that year was better than Forrest Gump (though arguably Four Weddings and a Funeral wasn't quite to the same level as the other three). Pulp Fiction much more so, and Shawshank even more than that. Hell, even Quiz Show was decent.
For the record, I've seen every movie up for Best Picture that year at least twice (and Pulp Fiction more times than I'd like to admit). I've seen Forrest Gump exactly once, and have had no interest in seeing it since.
That level of realism was the stuff of dreams at the time. The combination of model work augmented by the new CGI technology created a perfect storm of special effects that really had never before been seen. Were you trying to watch it back when it released or more recently? Sometimes a movie's wow factors cannot be replicated when watching it decades later.
I've always felt that putting a broadway musical on the big screen is one of least ambitious things you can do. For something as small scale as Chicago it's like shooting fish in a barrel.I don't understand the hate for Chicago in this thread, can you guys explain it to me? First of all its a competent adaptation of a good Broadway show. Are you guys hating it for its subject matter? Or the moral behind it? Or film cast?
Adapting Broadway to movie is hard, IMO in recent year only Mamma Mia had a good adaptation. Both Les Miserables and Into the Woods were just ok.
...
Edit just looked at what Shakespeare in Love was up against......what the actual fuck? Life is beautiful and Saving Private Ryan piss all over it massively, especially Life is Beautiful, what on earth were they thinking?
....
I also feel like adding, because I knew Titanic would get a fair share of mentions here, that I think Titanic is genuinely one of the best movies ever made and most of the hate it still gets is leftover from it being the first big "backlash" movie of the internet age. It's also cheesy, but in a great way and it's still probably the most stunning technical achievement on film. Everything from the iceberg on is soooooo good. And the historical details are virtually perfect. IMO anyway. I will concede that the "present day" scenes are a misfire but it's like 10% of the movie.
Crash is AWESOME near the boringness of
Even Gandhi has more happening and gandhi is a movie about a pacifist that has almost an hour more of duration than this shit
GAF Groupthink in overdrive with Crash.
Crash was a good film. I think it addressed its topic in a relatively mature way. it suggested that racism was institutionalised within cerain organisations (police) and wasn't limited to white/black binaries (Cheadle is as racist towards hispanics as Dillon is towards blacks, but Dillon uses it in an abhorrent manner).
It asks the question at the end if a good person can do bad things (and vice versa) and whether or not this is enough to forgive their actions, which even if they weren't handled THAT subtley here, are still univewrsal questions that art has struggled with for thousands of years.
I saw it at the cinema and have watched it several times since. It's far more profound than a lot of Oscar winners and carries the kind of self-justifying tone which is close to the liberal-white town of Hollywood. This is not a good thing, but it played its politics as well as it carried the theme through. Yes, it was Oscar-bait, but if that's where it was pitched, then who are we to argue at decsions made by film studios? Personally I'm sick of all the try-hard films coming out a this time of year, but that's the industry and schtick and self-promotion and PR is what they do.
It may not be the best Oscar winner of all time, but tell me that films like Titanic and Forrest Gump deserve it more? I don't think they do, but feel free to tank my point of view!
Do keep in mind that virtually every other BP nominee that year, with the possible exception of The Tree of Life, was pretty unremarkable:
Extremely Loud and Incredibly Close
The Descendants
The Help
Hugo
Midnight in Paris
Moneyball
War Horse
I've always felt that putting a broadway musical on the big screen is one of least ambitious things you can do. For something as small scale as Chicago it's like shooting fish in a barrel.
I really don't hate Titanic, but there had to have been a better movie released that year, right? I fell asleep at least 3 separate times trying to watch it, it's just so incredibly by-the-book boring to me.
The Unforgiven, without a doubt. Bored me to tears