criterionforum.org

therewillbeblus wrote: Sun Jan 05, 2020 10:17 pm I seem to remember Inception being even more ridiculous with Zimmer only using one note from the Piaf song causing it to become ineligible.

The Elegant Dandy Fop wrote: Mon Jan 06, 2020 2:58 am I can’t imagine the bleeps and bloops of Oneohtrix Point Never being given an Academy Award. It’s of course far more sedate than his other earlier work (compare it to the opening track of Returnal), but like so much about this movie, it seems like its done as a reaction against the standards of contemporary filmmaking. I’m sure the songs will effect the film as there are large passages without score and there’s a few cues where he’s blatantly riffing on Tangerine Dream and especially Geinoh Yamashirogumi’s score for Akira. If any film is going to win best score, I see it easily going to Marriage Story.

whaleallright wrote: Sun Dec 22, 2019 3:00 am I seem to recall that b/c Sandler is contracted to Netflix, the deal set up for this picture gave Netflix foreign distribution rights, hence the "premiere" on that service outside the US...

• "Money on the Street: The Making of Uncut Gems" Featurette

• Optional English SDH and Spanish subtitles for the main feature

Ribs wrote: Wed Jan 22, 2020 5:07 pm The Witch was also released!

mfunk9786 wrote: Thu Dec 26, 2019 3:08 pm This is a phenomenal picture, and the thing that propels it above tentpoles of this milieu like The Gambler (my personal favorite representation of gambling addiction on screen) or Hard Eight is the propulsive approach to the filmmaking, which immediately manages to put the Safdies in the short list of the most exciting filmmakers alive - something I didn't expect this quickly if ever. Good Time was a good film that never quite lived up to the level of tension it could have delivered, so I expected that this could be similarly deliberate (the middle of that film, with Pattinson laying low, and the penultimate sequence in the apartment, are just a bit too inert for what they could have been had the plot packed on a few more surprises).

So imagine my thrill when it turned out that Uncut Gems feels a bit like being waterboarded, the level of second-hand stress sometimes seeming capable of making a sphygmomanometer explode. What the Safdies do so well outside of stellar NYC casting choices is create both small and large moving pieces early on that later pop up like whack-a-moles - "did Howard pawn X to Y? Who's that guy, and why does he need that back? Oh MAN, I remember... oh no!" - all of this has a cumulative effect that takes the viewer way down into the shit, and when the final artistic flourish occurs it feels like that "when you nut and she keeps sucking" meme (sorry, it isn't the most highbrow thing I've ever committed to this forum, but it does), and I left the theater vibrating like a tuning fork. A film I cannot wait to rewatch 100 times between now and the time my life becomes unprofitable. Who knew this decade was going to save one of its best for last?