Winter's Bone (Debra Granik, 2010)
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- Joined: Wed Jun 04, 2008 4:11 pm
Winter's Bone (Debra Granik, 2010)
While of course it lacks the comedy of a certain Coen Brothers masterpiece, in many ways Granik's stunning and overwhelming film is the next worthy successor to Fargo in the film (neo-)noir canon for its gentle yet raw approach to the subject matter as well as the environment the characters inhabit. The very last shot of the film is a perfect moment capturing the movies' awesome humanism, but it's among many shots in the movie that just work so well to convey this emotional energy—this sense of getting to the next moment just to see what happens next. Take for another example, the sheer tension of one scene in a boat at night. For reasons I won't get into, one character is non-violently wielding a chainsaw and in one of the few scenes where handheld cameras are used up close to the action, Granik displays the work of a truly talented director in developing sheer dread with every rip of the chainsaw disturbing the peaceful yet dark serenity of a lake somewhere in the Ozark Mountains. Highly recommended, a shame this probably won't get much of a push come Oscar season, as I'm sure I'll see few better American movies this year.
- MyNameCriterionForum
- Joined: Sat Jun 21, 2008 5:27 am
Re: Winter's Bone (Debra Granik, 2010)
Have you seen (and are you able to compare this with) her Down to the Bone? I thought the earlier film was fair, but not necessarily special enough to prompt me to seek out her new film. It reminded me of Ballast -- where an overdetermined dourness was a substitute for any real substance, or at least any remarkable substance. Also reminded me a bit of Kelly Reichardt's work (perhaps moreso in form and tone than content), another director I have mixed thoughts about.
Also, is there some reason both films have the word "bone" in their titles?
Also, is there some reason both films have the word "bone" in their titles?
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- Joined: Wed Jun 04, 2008 4:11 pm
Re: Winter's Bone (Debra Granik, 2010)
I haven't seen her earlier movie. After The Departed, I thought Vera Farmiga was someone to watch, but the movie looked very direct-to-video to me so I passed on it. I may give it a try now though. As for the title, if you haven't seen it, I should probably not say what it is referring to, even if it isn't a huge spoiler.MyNameCriterionForum wrote:Have you seen (and are you able to compare this with) her Down to the Bone? I thought the earlier film was fair, but not necessarily special enough to prompt me to seek out her new film. It reminded me of Ballast -- where an overdetermined dourness was a substitute for any real substance, or at least any remarkable substance. Also reminded me a bit of Kelly Reichardt's work (perhaps moreso in form and tone than content), another director I have mixed thoughts about.
Also, is there some reason both films have the word "bone" in their titles?
- Jeff
- Joined: Tue Nov 02, 2004 9:49 pm
- Location: Denver, CO
Re: Winter's Bone (Debra Granik, 2010)
The film's greatest virtue (beyond the stunning lead performance by Jennifer Lawrence) is its incredibly well-developed sense of place. The Ozark town with a very seedy underbelly becomes a character itself -- indeed the most well developed one, and the tragic circumstances of all who inhabit it provide the very dour tone that sustains the piece. I haven't seen Down to the Bone, but it sounds as though that is something both films have in common. What makes Winter's Bone work for me is the suspense that Granik maintains throughout, even in the most seemingly innocuous scenes. Sometimes it's tough to tell who is dangerous and who is not. The only completely endearing characters are Lawrence's Ree and her young siblings. You want to take care of them, but Ree clearly doesn't need taken care of. There is a Phillip Marlowe quality to Ree's adventures as she bravely throws herself headlong into one unpleasant confrontation after another. Saying that the town itself is the most well developed character is not meant to imply that the others are all caricatures. There are certainly a few of those, and a few that I wish weren't so inscrutable. The most inscrutable of all though is, for me, the most interesting too -- she's played by Dale Dickey, whom you may recognize from My Name is Earl. Granik and her casting team clearly have an eye for unusual faces with lots of character. That's a trait she shares with the Coens, though Granik certainly won't be accused of using these characters as punchlines.
I don't know how apt the comparison to Kelly Reichardt is. I've only seen her Old Joy, and this is much more plot-driven than that. Although based on what I've read about Wendy and Lucy, I can see how some parallels might be drawn.
This will need a big year-end push to be remembered at awards time. Jennifer Lawrence certainly deserves all the attention she gets. She's absolutely mesmerizing: simultaneously tough and endearing. Even if she doesn't get an Academy Award nod, I'm nominating her now for "Actress Most Likely to Appear in a Future Domino Harvey Avatar." I think I said the same thing about Carey Mulligan's turn in An Education, for whatever that's worth.
I don't know how apt the comparison to Kelly Reichardt is. I've only seen her Old Joy, and this is much more plot-driven than that. Although based on what I've read about Wendy and Lucy, I can see how some parallels might be drawn.
This will need a big year-end push to be remembered at awards time. Jennifer Lawrence certainly deserves all the attention she gets. She's absolutely mesmerizing: simultaneously tough and endearing. Even if she doesn't get an Academy Award nod, I'm nominating her now for "Actress Most Likely to Appear in a Future Domino Harvey Avatar." I think I said the same thing about Carey Mulligan's turn in An Education, for whatever that's worth.
- Tribe
- The Bastard Spawn of Hank Williams
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Re: Winter's Bone (Debra Granik, 2010)
Don't know about the first movie you mention, but the reason the second movie is named Winter's Bone is because that is the title of the source novel, namely, Winter's Bone by Daniel Woodrell (the Raymond Chandler of the Ozarks!).MyNameCriterionForum wrote:Also, is there some reason both films have the word "bone" in their titles?
- MyNameCriterionForum
- Joined: Sat Jun 21, 2008 5:27 am
Re: Winter's Bone (Debra Granik, 2010)
Down to the Bone is currently available on Netflix instant watch for those of you curious to see it.
As for the comparisons to Kelly Reichardt, I was definitely thinking more of Wendy and Lucy and River of Grass rather than Old Joy (which I think is her best). They seem to share an uncondescending fascination with a sort of downtrodden sense of place that's rare and worth watching. Although I don't entirely buy the characters as working class... all my life I've held jobs with these kinds of people (I guess that makes me one of them, ha) and the dourness mentioned above seems an exaggeration; more often than not, regardless of their educational level or (often miserable) life experiences, they're pretty upbeat and have a wicked sense of humor. In fact I think that that would make an even sadder, truer type of film: One where the poor are still convinced the American Dream includes them, despite all evidence to the contrary.
As for the comparisons to Kelly Reichardt, I was definitely thinking more of Wendy and Lucy and River of Grass rather than Old Joy (which I think is her best). They seem to share an uncondescending fascination with a sort of downtrodden sense of place that's rare and worth watching. Although I don't entirely buy the characters as working class... all my life I've held jobs with these kinds of people (I guess that makes me one of them, ha) and the dourness mentioned above seems an exaggeration; more often than not, regardless of their educational level or (often miserable) life experiences, they're pretty upbeat and have a wicked sense of humor. In fact I think that that would make an even sadder, truer type of film: One where the poor are still convinced the American Dream includes them, despite all evidence to the contrary.
- knives
- Joined: Sat Sep 06, 2008 6:49 pm
Re: Winter's Bone (Debra Granik, 2010)
I hate to be the party pooper, but I only found the movie okay. There was one or two special moments, the final shot and the scene with the recruiter being best, but on the whole, to steal from Zedz, the experience was indifferently inoffensive. The performances were good, but hurt greatly by the Deanesque boomhauering. The story, mood, ect. worked but didn't manage to get a reaction out of me, though that as a criticism is stupid. The only other problem I had was one that seems to be present in every movie released in the past ten years, namely over editing and an indifference to camera placement.
- Jeff
- Joined: Tue Nov 02, 2004 9:49 pm
- Location: Denver, CO
Re: Winter's Bone (Debra Granik, 2010)
If it helps, the characters in Winter's Bone aren't so much portrayed as working class, as they are meth-cooking-backwoods-hillbilly class, which I think is considered a step down. Still, Granik does give the characters moments of pleasure. There is a great musical interlude midway through, and the film opens with kids playing on a trampoline. The latter is an intentional portrait of pure joy and innocence, quickly interrupted by the harsh reality of the situation that the characters are thrust in to.MyNameCriterionForum wrote:They seem to share an uncondescending fascination with a sort of downtrodden sense of place that's rare and worth watching. Although I don't entirely buy the characters as working class... all my life I've held jobs with these kinds of people (I guess that makes me one of them, ha) and the dourness mentioned above seems an exaggeration; more often than not, regardless of their educational level or (often miserable) life experiences, they're pretty upbeat and have a wicked sense of humor. In fact I think that that would make an even sadder, truer type of film: One where the poor are still convinced the American Dream includes them, despite all evidence to the contrary.
- Tom Hagen
- Joined: Mon Apr 14, 2008 12:35 pm
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Re: Winter's Bone (Debra Granik, 2010)
Great film. The best I've personally seen in the American dramatic competition at Sundance since The Squid and the Whale. I'm very happy/relieved to see how much positive ink has been spilled for this.
- foofighters7
- Joined: Tue Nov 02, 2004 11:27 pm
- Location: Local
Re: Winter's Bone (Debra Granik, 2010)
Seen this over the weekend.
Simply put, I thought this was terrific.
Easily the best film I have seen this year.
Tight direction and editing, great performances that, to me, seem about as authentic as you can get. I didn't feel like they were acting at all. I freakin' KNOW these people! (or at least seen them around). Moody, creepy backdrops with the most authentic looking houses/buildings.
The dialogue felt right without being heavy-handed. When writing people of this nature many times people tend to go a bit overboard with how much 'hick talk' they incorporate. Again, the best word for me is Authentic.
The characters had depth in most cases. By the end you too can start to understand their 'way'.
Honestly, I went in not knowing much about this film, but I'm quite glad I went.
As far as women directors go, I think this is one of the best outings in quite awhile from a female. Last years Oscar winner for Best Director could learn a thing or two from how this film was Directed.
Not once did I feel like a scene went into "oh god no" land.
Simply put, I thought this was terrific.
Easily the best film I have seen this year.
Tight direction and editing, great performances that, to me, seem about as authentic as you can get. I didn't feel like they were acting at all. I freakin' KNOW these people! (or at least seen them around). Moody, creepy backdrops with the most authentic looking houses/buildings.
The dialogue felt right without being heavy-handed. When writing people of this nature many times people tend to go a bit overboard with how much 'hick talk' they incorporate. Again, the best word for me is Authentic.
The characters had depth in most cases. By the end you too can start to understand their 'way'.
Honestly, I went in not knowing much about this film, but I'm quite glad I went.
As far as women directors go, I think this is one of the best outings in quite awhile from a female. Last years Oscar winner for Best Director could learn a thing or two from how this film was Directed.
Not once did I feel like a scene went into "oh god no" land.
- aox
- Joined: Fri Jun 20, 2008 12:02 pm
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Re: Winter's Bone (Debra Granik, 2010)
Yeah, I really enjoyed this film, and as someone from this part of the country, it hit home in many scenes. The tension maintained throughout is delightful without seeming too heavy. It's well paced and well acted. I think by the time the lake-scene happens, this film gets very close to being 'silly', but the director doesn't go for the easiest indulgences and maintains a dignified restraint.
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- Joined: Wed Sep 26, 2007 7:56 am
Re: Winter's Bone (Debra Granik, 2010)
Just saw this and loved it.
The milieu was perfectly drawn. Blues and greens pervaded the production design. The contrast was pushed so much in post that detail did get lost in the blacks, but it didn't matter. The bright highlights and dark blacks made the color palette almost entirely blue, green, brown, white, and black. In a word, chilly.
Jennifer Lawrence's performance is pitch-perfect. Oscillating between being the head of her family to begging for help. Granik most often uses a deeper focus to see the world of the film. So when she holds Lawrence in a shallow-focus close-up, particularly when Lawrence is pleading with her mother for answers, the viewer knows just how alone the protagonist is. Granik doesn't even cut away to the mother. She simply allows Lawrence to tell the scene.
The actress's tough performance plays well against her understated good looks. She is attractive, but has no romantic prospects, and rightfully, none pop up. Her desaturated life is one devoid of youth and sexuality. She has forcefully been thrust into the role of maternal survivalist.
The only inkling of sexuality is the threat of rape. A 17-year-old running around the impoverished backwoods of drug dealing subtly brings up the threat, without explicitly stating it.
The side characters are very... well, character-y. The scene with the recruiter, specifically, could've been played for politics rather than as it was, showing just how trapped Lawrence is. Mostly unattractive extras, as if from a Tarr film, make up the population. And even the animals get the respectful gaze of Herzog.
If you're a Blake Snyder acolyte, then surely the narrative structure will disappoint. The resolution is arrived at with a certain passivity of the lead character, and the tension diffuses a bit in Act 3. Still, that's not what this film was about for me. Granik provides a place to live in. An icy chill of a town, but one that is breathing and alive. A town that extends far beyond the limits of the frame and the script.
The milieu was perfectly drawn. Blues and greens pervaded the production design. The contrast was pushed so much in post that detail did get lost in the blacks, but it didn't matter. The bright highlights and dark blacks made the color palette almost entirely blue, green, brown, white, and black. In a word, chilly.
Jennifer Lawrence's performance is pitch-perfect. Oscillating between being the head of her family to begging for help. Granik most often uses a deeper focus to see the world of the film. So when she holds Lawrence in a shallow-focus close-up, particularly when Lawrence is pleading with her mother for answers, the viewer knows just how alone the protagonist is. Granik doesn't even cut away to the mother. She simply allows Lawrence to tell the scene.
The actress's tough performance plays well against her understated good looks. She is attractive, but has no romantic prospects, and rightfully, none pop up. Her desaturated life is one devoid of youth and sexuality. She has forcefully been thrust into the role of maternal survivalist.
The only inkling of sexuality is the threat of rape. A 17-year-old running around the impoverished backwoods of drug dealing subtly brings up the threat, without explicitly stating it.
SpoilerShow
In fact, the environment and the side-characters are so fleshed out, that the women make it a known fact that only females beat up Lawrence's character. Although the wide shot showing Lawrence dragged into a garage insinuates a possibility of sexual violence, the town is shown to still have its own warped code of honor.
If you're a Blake Snyder acolyte, then surely the narrative structure will disappoint. The resolution is arrived at with a certain passivity of the lead character, and the tension diffuses a bit in Act 3. Still, that's not what this film was about for me. Granik provides a place to live in. An icy chill of a town, but one that is breathing and alive. A town that extends far beyond the limits of the frame and the script.
- knives
- Joined: Sat Sep 06, 2008 6:49 pm
Re: Winter's Bone (Debra Granik, 2010)
This sentence bugs the hell out of me. Maybe I'm taking it wrong, but the present phrasing seems to suggest you mean that only traditionalists won't like the movie, from a story standpoint. I'll take it in good faith you don't mean that, but to make a purpose.Grand Illusion wrote: If you're a Blake Snyder acolyte, then surely the narrative structure will disappoint.
I think the structure of the film isn't terribly unique. If there is anything that does manage to make it such it is the character and place. Even than though the story manages to hit almost all of the noir beats. She doesn't manage to do anything but use a skeleton to prop up what I hope is her real purpose, namely an examination on Lawrence's virtues and reality and how they harm her.
-
- Joined: Wed Sep 26, 2007 7:56 am
Re: Winter's Bone (Debra Granik, 2010)
I'm not trying to say that only traditionalists will dislike the film. Other people will as well and have their own reasons. I'm just saying that if you're expecting it to live up to the standard thriller structure, it doesn't.knives wrote:This sentence bugs the hell out of me. Maybe I'm taking it wrong, but the present phrasing seems to suggest you mean that only traditionalists won't like the movie, from a story standpoint. I'll take it in good faith you don't mean that, but to make a purpose.Grand Illusion wrote:If you're a Blake Snyder acolyte, then surely the narrative structure will disappoint.
I think the structure of the film isn't terribly unique. If there is anything that does manage to make it such it is the character and place. Even than though the story manages to hit almost all of the noir beats. She doesn't manage to do anything but use a skeleton to prop up what I hope is her real purpose, namely an examination on Lawrence's virtues and reality and how they harm her.
SpoilerShow
The scene with the town women suddenly changing their mind and deciding to tell Lawrence where her father is reeks of deus ex machina. That's pretty poor structure and firmly places the narrative in the backseat to what you correctly identify as character and place.
- knives
- Joined: Sat Sep 06, 2008 6:49 pm
Re: Winter's Bone (Debra Granik, 2010)
Thought that was the case, with your intent I mean.
As for the traditionalist stuff, I agree that it does have it's purpose, though I think of it only as a template for which to expand ideas off of. If it hadn't already been perfected by the 1600s then it was by the time Seven Samurai came out.
I'm a tad curious about your No Country, which I actually preferred, comparison. Their experiments with narrative expectation do seem similar, but have this nice underlying difference. Assuming the difference in enjoyment is with the structure I wonder what makes one sway one way or the other? Maybe it's Granik underplaying what she shows vs. the Coens overplaying what is hidden. The Coens seem real intent on making tension and excitement out of nothing while here Granik is downplaying things to the point where the fear and tension she bothers with is more like this smeared and lumpy jelly. Both styles are probably great, but for reasonably different people.
As for the traditionalist stuff, I agree that it does have it's purpose, though I think of it only as a template for which to expand ideas off of. If it hadn't already been perfected by the 1600s then it was by the time Seven Samurai came out.
I'm a tad curious about your No Country, which I actually preferred, comparison. Their experiments with narrative expectation do seem similar, but have this nice underlying difference. Assuming the difference in enjoyment is with the structure I wonder what makes one sway one way or the other? Maybe it's Granik underplaying what she shows vs. the Coens overplaying what is hidden. The Coens seem real intent on making tension and excitement out of nothing while here Granik is downplaying things to the point where the fear and tension she bothers with is more like this smeared and lumpy jelly. Both styles are probably great, but for reasonably different people.
SpoilerShow
Also I never noticed that was dues ex, but yeah the noir aspect manage to hurt the film more than help it.
-
- Joined: Wed Sep 26, 2007 7:56 am
Re: Winter's Bone (Debra Granik, 2010)
knives wrote:Thought that was the case, with your intent I mean.
As for the traditionalist stuff, I agree that it does have it's purpose, though I think of it only as a template for which to expand ideas off of. If it hadn't already been perfected by the 1600s then it was by the time Seven Samurai came out.
I'm a tad curious about your No Country, which I actually preferred, comparison. Their experiments with narrative expectation do seem similar, but have this nice underlying difference. Assuming the difference in enjoyment is with the structure I wonder what makes one sway one way or the other? Maybe it's Granik underplaying what she shows vs. the Coens overplaying what is hidden. The Coens seem real intent on making tension and excitement out of nothing while here Granik is downplaying things to the point where the fear and tension she bothers with is more like this smeared and lumpy jelly. Both styles are probably great, but for reasonably different people.SpoilerShowAlso I never noticed that was dues ex, but yeah the noir aspect manage to hurt the film more than help it.
SpoilerShow
I was enjoying No Country until the moment that the Coens jettisoned their lead character. I didn't find it particularly well-filmed, and it left confusion as to what actually happened for a few minutes. Worse, once Brolin's character was confirmed gone, I found the other characters to be poorly-drawn stereotypes, something that affects most of the Coens' supporting players even in their great films. It turned into a dry dissertation on fate given by the least interesting character in the film, Tommy Lee Jones. I'm okay with an intellectual point, but I found No Country to be a structural bait-and-switch, particularly because of the initial level of characterization given to Brolin.
Granik, on the other hand, jettisons not her protagonist, but her thriller conflict. Lawrence still exists to the end of the film. Hers is the human condition that we have been witnessing since the beginning. Granik imbues the film world, the supporting players, and most importantly the protagonist with the utmost respect and dignity. Her structure doesn't promise a characterization and leave with speechifying. Granik's structure promises humanism and delivers, whether or not the tension reaches a boiling point.
Of course, all of this is muddled by the fact that both are adaptations.
Granik, on the other hand, jettisons not her protagonist, but her thriller conflict. Lawrence still exists to the end of the film. Hers is the human condition that we have been witnessing since the beginning. Granik imbues the film world, the supporting players, and most importantly the protagonist with the utmost respect and dignity. Her structure doesn't promise a characterization and leave with speechifying. Granik's structure promises humanism and delivers, whether or not the tension reaches a boiling point.
Of course, all of this is muddled by the fact that both are adaptations.
- Jeff
- Joined: Tue Nov 02, 2004 9:49 pm
- Location: Denver, CO
Re: Winter's Bone (Debra Granik, 2010)
Lionsgate is releasing a suprisingly well-appointed Blu-ray on October 26.
Special features include:
* Audio commentary
* Deleted scenes
* Making-of featurette
* Location featurette
* Visual scouting notes
* Music video
- HistoryProf
- Joined: Mon Mar 13, 2006 3:48 am
- Location: KCK
Re: Winter's Bone (Debra Granik, 2010)
Saw this today and found it absolutely riveting. A great little film - and maybe the most natural feeling of any I can remember. meaning that everything about it felt genuine and real. Nothing felt overdone, each person she encounters feels like the person she should be encountering rather than caricatures, and the ramshackle locations are all pitch perfect. Add in some terrific acting from the leads - John Hawkes was hard to recognize, and I think deserves a supporting actor nod - and some brutally intimate looks into the world of hillbillies and crank and you have one heck of a film. There's nothing "working class" about the people here - this is backwoods old school life in the holler, where kin is more important than laws. What so great about it is how understated it all is, and how so much of the story is merely hinted at, avoiding the temptation to spell every little detail out and forcing the viewer to think a bit on how things must have gone down.
- Finch
- Joined: Mon Jul 07, 2008 5:09 pm
- Location: Edinburgh, UK
Re: Winter's Bone (Debra Granik, 2010)
Beaver on the Lionsgate Blu
Fellow Brits may want to wait to see how the Artificial Eye disc compares; it's also likely to be somewhat cheaper than the Lionsgate.
Fellow Brits may want to wait to see how the Artificial Eye disc compares; it's also likely to be somewhat cheaper than the Lionsgate.
- mfunk9786
- Under Chris' Protection
- Joined: Fri May 16, 2008 4:43 pm
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Re: Winter's Bone (Debra Granik, 2010)
This was an excellent nailbiter. The performances are obviously solid all around, but what really ties everything together is the direction. There are several moments in the film that are able to build legitimately bone-chilling tension around moments that have to be seen to be believed. There are so many layers of dread that come together in the climax at the lake that it is almost painful to watch everything unfold, waiting for the other shoe to drop square onto our heroine. A breakneck pace keeps the film consistently and compulsively watchable throughout. A mini-masterpiece that you'd be crazy to miss.
- aox
- Joined: Fri Jun 20, 2008 12:02 pm
- Location: nYc
Re: Winter's Bone (Debra Granik, 2010)
I also think the film rides on Jennifer Lawrence's performance. She is such a strong female protagonist. I realize that is a loaded term; however, I found her performance refreshing. Oftentimes, being a 'strong female protagonist' means a woman pretending to be a man, and I got no hint of that from Ms. Lawrence.
- James Mills
- Joined: Mon Dec 06, 2010 7:12 pm
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Re: Winter's Bone (Debra Granik, 2010)
After anxiously awaiting this film for months and months (I missed it in the theaters), I feel pretty awful about how awful it is. This is the worst feature film I have seen all year. The worst production design, the worst editing, worst stage direction, and the worst lighting of anything I've seen in 2010, and it isn't even close. I'm not sure I could have made a worse film with no budget. In fact, Granik would have been better off not having a budget for lighting or props to begin with, as interior settings and new clothing/vehicles/tools are all so obviously done up that it's painfully distracting against the "dirty crackheads." Please, tell me Debra, what inspired you to make this film from your sweet home in the suburbs of Massachusetts, or your cozy college dorm at Tisch? What exactly are you trying to say about these people from the South? That many are addicted to drugs? That they're poor? Is that really all they are?
All of these would be easily forgivable if the movie had a story worth caring about. Unfortunately, we're supposed to believe that her entire family lives within walking distance from her yet they're not only entirely estranged, but that they would inexplicably kidnap and try to kill her. Whats their reasoning? Who cares!? The lead girl doesn't, so why should we? She aimlessly goes around house to house asking where her father is without receiving any clues or hints for suspense. This ensues for the entire first hour before the violence commences, which we care as little about as she does. She doesn't even ask these family members why they're knocking her teeth out (literally; it is that heavy handed), just says simply "kill me." Hey, you and me both, Bree.
I would love to know what you guys liked about this film. Please, be specific, because after this and True Grit, I feel like I'm a fucking martian right now.
All of these would be easily forgivable if the movie had a story worth caring about. Unfortunately, we're supposed to believe that her entire family lives within walking distance from her yet they're not only entirely estranged, but that they would inexplicably kidnap and try to kill her. Whats their reasoning? Who cares!? The lead girl doesn't, so why should we? She aimlessly goes around house to house asking where her father is without receiving any clues or hints for suspense. This ensues for the entire first hour before the violence commences, which we care as little about as she does. She doesn't even ask these family members why they're knocking her teeth out (literally; it is that heavy handed), just says simply "kill me." Hey, you and me both, Bree.
I would love to know what you guys liked about this film. Please, be specific, because after this and True Grit, I feel like I'm a fucking martian right now.
- domino harvey
- Dot Com Dom
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Re: Winter's Bone (Debra Granik, 2010)
The film is brilliant because it takes the viewer completely into a world with a different set of rules, mores, and functions than those of the viewer. This film is in fact an ideal example of one of the basic functions of cinema, to show us something we wouldn't ordinarily have witnessed ourselves. That you took everything as a judgment against those portrayed speaks more toward your own biases, I suspect. The film is anything but condescending to those who populate the screen...
- mfunk9786
- Under Chris' Protection
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Re: Winter's Bone (Debra Granik, 2010)
And to call it the worst feature film you've seen all year speaks to an immaturity that I hope you're someday able to shake. No one is shocked, impressed, or titillated by your attempt at dismissing a film that was clearly well made from a technical standpoint as if it wasn't, and calling the authenticity of its filmmaker into question as if you're the only person enlightened enough to see through her. We're just all sort of looking at your post, glad our little brothers have matured past that level of 'look at me!' proclamation.
- jwilhelm
- Joined: Wed Dec 29, 2010 11:05 am
Re: Winter's Bone (Debra Granik, 2010)
For the most part, I happen to agree with James Mills. I have been trying to figure out the appeal of this film. I cant. Ive watched it twice now and i have to say i think its one of the worst films of the year. It has nothing to do with any agenda. Lets not resort to name calling. I could just as easily say that enthusiasts of the film are those who tend to look way too deep into something that isnt there so they can claim there artistic eye is better developed than others. We all know people who claim to love a film because they think they are supposed to and people who dislike a film that is popular, because its popular. But, we can agree, im sure, that we dont always have to see eye to eye with regards to likeing a film or not.