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    (Original post by HJFSS)
    Oh my god they're remaking Seven Samurai and it's going to be SO BAD
    If you were around in the 50s The Magnificent Seven wouldn't exist today.
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    Ok so I've decided to try and watch some of Ryan Gosling's older films after watching Drive & The Ides of March, I just finished watching Half Nelson, and I've got to say it was amazing! I'm going to see if I can watch Lars & The Real Girl tomorrow, but it looks like a bit of a weird one..
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    (Original post by HJFSS)
    Oh my god they're remaking Seven Samurai and it's going to be SO BAD
    Magnificent Seven was a remake or re-imagining of Seven Samurai, and that was a great film...
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    (Original post by Phalanges)
    Go on youtube and search for the redband trailer of "God Bless America" (can't link to it because of swearing).
    That film looks really good
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    Might go crazy and watch a film tonight, I'm thinking Fanboys. Heard it's great in a **** kind of way.
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    (Original post by aja89)
    Might go crazy and watch a film tonight, I'm thinking Fanboys. Heard it's great in a **** kind of way.
    It's mediocre though funny in some parts. If you're going that crazy, then maybe give Frequently Asked Questions about Time Travel a go as well. It's quite good for what it is.
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    (Original post by aja89)
    Might go crazy and watch a film tonight, I'm thinking Fanboys. Heard it's great in a **** kind of way.
    The script was written by Ernie Cline, who wrote Ready Player One last year (which is an absolutely amazing book).
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    Just got back from The Grey.

    An enjoyable survival story, but the trailers were pretty misleading in making it look more action-y. Wish I had known there was an extra scene after the credits.

    Think I'll avoid watching trailers for movies now. Can't wait to go into more screenings with zero idea on what the film is about, worked for Girl with the Dragon Tattoo and excited to see Drive in the same way.
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    The Girl with the Dragon Tattoo was an excellent film and the actors all played their parts perfectly. I am glad I didn't read the books or watch the Swedish film, it made the Fincher film all the more refreshing. From reading the description of the Swedish film's ending, I prefer Fincher's ending. Though in terms of plot, I don't really see why it has had so much hype and praise. And it was predictable in parts (which I don't like in a mystery film)...

    Spoiler:
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    It's always the guy who is most willing to co-operate with the protagonist. :pierre:
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    Watched Drive last night and tonight.

    Wow. If I saw this last year, it would've gone straight to the top of my favourite film of 2011 list.

    (I think the fact that Taxi Driver is my favourite film is why I loved Drive so much)
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    Films I've watched recently :

    Warrior - Liked it, thought it was really very well made, even if the plot itself wasn't fantastic; the build-up towards the climax in particular was excellent, and did well to exploit the lack of clear protagonist. Some very good acting in it as well (Nolte's been nominated for an Oscar, obviously).

    Sex, Lies and Videotape - Absolutely loved it. Fantastic, fantastic stuff, especially given it's a debut effort.

    The Reader - I thought it was a mediocre to decent film that could have been better. Winslet is very good in it, though.

    Tinker, Tailor, Soldier, Spy - Extremely good adaptation of the book, I'd say. While it did feel slightly rushed to me, I think that's normal after watching a film-version of a story so soon after finishing a book. I haven't read the source material for the other nominees, but I would guess that it should be a pretty strong contender for the Best Adapted Screenplay Oscar. Surprised that it wasn't nominated for Best Picture, tbh.

    The Ides of March - I thought it was entertaining and mostly good, but dropped off a bit towards the end. Clooney is impressive as both director and actor, and the acting in general is very strong; I do think it could have been better with a more developed/thought out resolution, though, and perhaps a better-written character for Evan Rachel Wood.

    The Iron Lady - Exactly what most of the reviews have said: a decent-ish to mediocre film, and completely unremarkable apart from Streep, who is excellent.

    Casablanca - Another one off the list. :woo: And what a fantastic one too. :coma:

    Albert Nobbs - Like The Iron Lady, mostly unremarkable apart from its lead - and, in this case, a very good (but perhaps somewhat overrated? I personally thought Maria Doyle Kennedy gave the stronger show) performance from Janet McTeer. Could have been better - I thought the other two main supporting actors (Wasikowska and Aaron Johnson) were particularly poor.

    That's it, I think. I want to watch something today as well, but I'm not sure what yet...

    Moving on, I was very surprised at the Oscar nominations. I'll have to watch more of the nominees before I have something more closely resembling an informed opinion, but I thought the shutting out of Drive in particular was shocking.
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    I was gobsmacked Drive didn't get an Oscar nod, whereas Midnight In Paris (good film, but nothing remarkable) did. Drive is, quite simply, a masterpiece and was by far my favourite film of 2011.
    Ryan Gosling being snubbed for both that and The Ides of March was equally shocking. In Drive he was faultlessly brilliant.
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    Drive is too genre. They hate genre.
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    (Original post by Student2806)
    I was gobsmacked Drive didn't get an Oscar nod, whereas Midnight In Paris (good film, but nothing remarkable) did. Drive is, quite simply, a masterpiece and was by far my favourite film of 2011.
    Ryan Gosling being snubbed for both that and The Ides of March was equally shocking. In Drive he was faultlessly brilliant.
    I can understand why Gosling didn't get nominated - I thought he fit the required role perfectly in Drive, but it wasn't really a character that was written in a way that facilitated the kind of 'noticeable' (for want of a better word) acting that wins awards, was it. I'm more surprised that it didn't get a Best Direction nomination.

    (Original post by Colonel.)
    Drive is too genre. They hate genre.
    I'm not sure I understand...
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    Extremely Loud and Incredibly Close being nominated for Best Picture says it all really. An interesting article that came out before the list was released covers a few possible reasons for the snub:

    Five Reasons Drive Won't Do Well at the Oscars
    Why the biggest cult movie of 2011 won't get any Oscar love.

    by Jett Wells
    It's an open secret that the Academy Awards are a frustrating, out of touch, and occasionally rigged popularity contest. This is why critical and fan favorites like Nicholas Winding Refn's Drive will get the big snub. Refn's slow-burn thriller didn't blow out the box office, but it's already cemented itself as something of a modern classic by virtue of heavy internet love, a bestselling soundtrack, and a 92% "fresh" rating on Rotten Tomatoes. But Drive isn't going to do much at the Oscars in February, and here's why.

    1. It didn't take in boatloads at the box office.

    Drive was a small-budget indie film that's garnered a modest $34.3 million since its release in September, but as past Best Pictures indicate, Academy voters like big sellers. Look at the bigger winners in years past: The King's Speech ($138.8 million), Slumdog Millionaire ($141.2 million), The Departed ($132.3 million), Million Dollar Baby ($100.4 million), and Lord of the Rings: Return of the King ($377 million). The only outlier in that list is The Hurt Locker, which grossed just $15.7 million. Despite the growing disconnect between a film's budget, its quality, and what it makes at the box office, Academy voters still like what the masses go out to see.

    2. It has a morally ambiguous hero.

    Ryan Gosling's nameless driver is a cold, machine-like, anti-hero largely characterized by steely stares, beautifully shot montages, and wild bursts of hammer-wielding violence. He's less Luke Skywalker and more The Man With No Name, and Academy voters like big, redemptive moments where the protagonist wins back the hearts of the audience. Phil Contrino of Boxoffice.com pointed out that the crowd at his showing lost interest once Gosling slapped media-darling Christina Hendricks, even though her character was plotting his demise. Even though Gosling's driver is a huge internet fan favorite and represents one of his strongest performances, the character itself could tank the movie's chances.

    3. It skews too young.

    The average Academy voter is in his mid-sixties, which translates to traditional, conservative sensibilities, by and large. With a synth-rock soundtrack, a highly-stylized retro aesthetic of hot cars and skinny jeans, and a leading man cultishly adored by people in their twenties, Drive is a younger generation's movie. Last year, the Generation Y-focused The Social Network (directed by David Fincher, a man who started out doing music videos) lost out to period film The King's Speech. Don't expect anything different this year.

    4. It's too bloody.

    Part of Drive's appeal is the tension it builds between long stretches of quiet minimalism and sudden bursts of ultraviolence. But artful and stylized though it was, most audiences found it way too bloody. History has shown the Academy voters can take some blood occasionally — just look at the opening scene from Best Picture Winner Saving Private Ryan. Still, it's doubtful Refn's chic bloodletting will get the same pass as the historically significant violence from that film.

    5. There aren't enough Hollywood moments.

    Though it's deeply indebted to Hollywood genre traditions, Drive lacks many of the standard beats of today's blockbusters. I'm referring to those Steven Spielberg moments: a crying grandfather, a twenty-foot shark explosion, a grandiose score, a big, obvious emotional payoff. These sentimental elements aren't totally absent from Drive, but Refn is more subversive about introducing them, doing so subtly and in layers. But what endeared him to critics will probably hurt him come February — Academy voters are suckers for tearjerkers.


    http://www.nerve.com/movies/five-rea...-at-the-oscars
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    If Christopher Nolan had decided to use the 'In Time' concept of time as currency as the foundation for his own film, it would have been up there with Inception. Alas, we have Justin Timberlake running around in a brainless and dull film.
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    Haywire - Seriously the worst film I have seen for a good while. The music was awful, the pacing for the film was slow and the plot was incredibly dull. Some of the actors should be embarrassed.

    I can't actually believe it got 81% on Rotten Tomatoes.
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    Just finished watching Incendies. The ending...:eek:
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    I haven't seen anything posted about the results of the Sundance Film Festival 2012's awards, so here they are:

    Spoiler:
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    Grand jury prize, documentary: The House I Live In

    Grand jury prize, drama: Beasts of the Southern Wild

    US directing award: The Queen of Versailles, Lauren Greenfield

    US directing award: Middle of Nowhere, Ava Duvernay

    Waldo Salt screenwriting award: Safety Not Guaranteed, Colin Trevorrow

    Audience award, US documentary: The Invisible War

    Audience award, US dramatic: The Surrogate

    Special jury prizes, US documentary: Love Free or Die and Ai Weiwei: Never Sorry

    US dramatic special jury prize for producing: Jonathan Schwartz and Andrea Sperling, Smashed and Nobody Walks

    US dramatic special jury prize for Ensemble Acting: The Surrogate

    Shorts audience award: The Debutante Hunters

    Excellence in cinematography, US documentary: Chasing Ice

    Excellence in cinematography, US dramatic: Beasts of the Southern Wild

    US documentary editing award: Detropia

    Best of next award: Sleepwalk With Me

    Alfred P Sloan feature film prize: Robot and Frank and Valley of Saints

    World cinema jury special prize, Documentary: Searching for Sugar Man

    World cinema documentary editing: Indie Game: The Movie, Lisanne Pajot and James Swirsky

    World cinema jury prize,documentary: The Law in These Parts, Ra'anan Alexandrowicz, director

    World cinema dramatic special jury prize: Can, Rasit Celikezer, director

    World cinema cinematography award, drama: David Raedeker, My Brother the Devil

    World cinema cinematography award, documentary: Lars Skree, Putin's Kiss

    World cinema directing award, documentary: Emad Burnat and Guy Davidi, 5 Broken Cameras

    Shorts audience award: The Debutante Hunters, Maria White, director

    World cinema audience award: Searching for Sugar Man


    The highlights:

    - The Grand Jury Prize (best drama/film) went to Beasts of the Southern Wild, 'the story of a six-year-old girl living with her dad in the flood-threatened basins near the Mississippi delta... praised by the Guardian's Damon Wise as "the first significant eco-threat movie to be seen through the eyes of the generation that has inherited global warming".'

    - The US Drama Audience Award went to The Surrogate, which is 'based on the autobiographical writings of journalist and poet Mark O'Brien... (and) details the efforts of a 38-year-old semi-paralysed polio victim (Martha Marcy May Marlene's John Hawkes), to embark on a sexual awakening via a "sex surrogate" played by the Oscar-winning actor Helen Hunt'. The film also won a Special Jury Award for ensemble acting.

    - The Best Documentary award went to The House I Live In, which 'documents the failure and the fallout for impoverished areas of America's war on drugs'. The Audience Award for Best Documentary went to The Invisible War, 'which exposes the high number of instances of rape and sexual assault in the US military. '

    - On another interesting note: 'Outside the competition, there was British success for Oscar-winning UK film-maker James Marsh, whose film Shadow Dancer was well-received. It tells the story of an Irish mother from an IRA-supporting family who is encouraged to become an informant by MI5. Starring Clive Owen and Andrea Riseborough, it was described by Wise as a "film that will surprise those who know Marsh only from his docs – the Oscar-winning Man on Wire and Bafta-nominated Project Nim – and also cement the director's reputation as one of the UK's leading auteurs".'

    So some of the lower-key films that might be worth looking out for in 2012. :holmes: On which note, from last year's festival - how did people like Like Crazy? And I'm still looking forwards to seeing The Guard.
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    The documentary filmmaker that made Gasland got arrested yesterday in Washington attempting to film a hearing: http://www.huffingtonpost.com/2012/0...1.html?mrefid=

    Very sad day for freedom of the press.
 
 
 
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