Best Scene: First meeting the group.
4. Edward Norton in A Complete Unknown - Although I didn't fully believe his Pete Seeger mannerisms, I believed the quiet warmth he brought to the role.
Best Scene: Seeing Woody for the last time.
3. Jeremy Strong in The Apprentice - Broad in a way that worked in creating the prince of darkness then pulling the rug out from under you by revealing the vulnerable pathetic man beneath it all.
Best Scene: Birthday cake.
2. Yura Borisov in Anora - Borisov brings so much to so many little moments in creating humor but also an essential building empathy that makes a great impact by the end of the film.
Best Scene: Staying overnight.
Best Scene: Story of his grandparents.
17 comments:
Louis: I predicted correctly on the lineup page as well.
My first win in awhile and I'm requesting Tatsuya Nakadai in Kill!.
Louis: Costume Design Top 10 and your Makeup nominees.
I'll request Daniel Day-Lewis in The Crucible.
Louis: Do you still prefer Grande over Jones from the nominees?
Finally, my first win!
I'll have to ruminate a bit.
I'm fairly confident on your Best Actor ranking.
Louis: I also predicted correctly under Culkin's review
I think I'll request Pat Hingle in Splendor in the Grass. He's kinda low on the ranking, so I assume you haven't watched it in a while. To me he was an easy 5 and the best thing about the film.
Louis: Thoughts on Corbet's direction.
Matt:
Hard for me to say for sure since I haven’t rewatched Grande, though it’s a weird thing to parse out as I’m already a fan of Jones, meanwhile I had severe doubts of Grande but it’s also a completely serious performance against a comedic one, and a secondary leading turn versus a genuinely supporting one. Although for the last point in particular, Jones would be my preferred winner even though it won’t happen.
Jonathan:
Corbet’s direction is daring in the best possible description of the word, and the fact that he did this in the budget only makes it all the more incredible. Like any period film, this one feels as tangible of the period, and the fascinating element about it is that Corbet gives us moments just to appreciate the period, we’re not running past it, we’re living it. The key though is that the nature of the period doesn’t make this a throwback, despite the incredible use of Vistavision to offer the architectural perspective which is essential to creating the fundamental ambition that defines our protagonist. As Corbet is making a modern film with a classic scope, as the opening scene, which might be my favorite scene of the year, proves this as the camera movement, the sound, all of that is working within modern context of creating a very particularly lost in the darkness sense of place before coming out to the vision of the statue of liberty as we seem to find the dream, though a twisted one from the outset. Corbet’s version then proceeds as a twist of the American dream in his overarching use, where I love he has moments where the dream does seem possible in moments, with vigorous scenes such as when Toth describes his vision or even the building of the library. He lets us sense the possibility, even the mystic nature of the first half of the Italian trip does so. But he is as unrelenting in showing the seedy underbelly of the moments, where he directs with such unflinching intimacy, particularly the heroin sex scene late in the film. Corbet swings frequently and successfully in fashioning the style however, which is part a period sense of place, but also has his documentary moments that grant it this greater context, meanwhile having moments of the epic vision with giving time for small character moments of conversation. Corbet sought clearly to make a film like they don’t make anymore, while also making one that is entirely new in so many of the touches, and for me unquestionably succeeded.
So basically The Brutalist is sort of "There Will Be Blood" meets "Giant"?
Luke:
Costume Design:
My Nominees:
Dune Part II
The First Omen
Maria
Nosferatu
The Substance
6. Furiosa
7. Gladiator II
8. The Count of Monte Cristo
9. Vermigilio
10. The Brutalist
Matt:
In spirit very much so. But distinctly its own thing.
Anonymous:
Save that for after I'm done with alternate supporting.
Given your skepticism over Pearce in the role, what was your rating for him on your first viewing? Was it a five nonetheless?
Anonymous:
He was always a five, what my comment was more of referring to was questioning if I was just excited for him finally being Oscar nominated, so I was trying to be extra critical but the more I thought about his performance the more I found I loved about it.
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