Vote on these awards here.
- Don’t Think Twice
- The Handmaiden
- The Lobster
- Nocturnal Animals
Let’s talk about 2016. Though you may understandably be reluctant so to do.
I don’t think many will disagree when I say this has been a bad year. They might take exception to the word “bad.” Which is fair. It might be better to say this year has been so crushingly weak.
But do the next two months offer some hope of salvation? That’s what I hope to determine.
I’ve been meaning to do another Trailer Salad post (and will soon), but since this bowed today and was clearly the big movie news of the day, I thought I’d just take care of it pronto.
It’s finally arrived. I can now only think of one more major trailer that has not yet arrived–that for Ava DuVernay’s Selma.
Now, what do I think of it? I think it looks fun. I’m getting a definite Big Lebowski vibe (which has been confirmed by a friend of mine who’s read the book), along with a hint of Fear and Loathing–and since I love both of those films, that is, I would say, a good thing. I will say I’m not sold on it being in my Best Picture lineup (not yet, at least), but I do think it’s got potential (from both the Academy and myself) for Adapted Screenplay, Supporting Actor (for Josh Brolin), and Costume Design recognition. And who knows, Joanna Newsom’s narration might earn her Supporting Actress consideration.
Really, though, I don’t know what to expect. Anderson’s trailers often feature footage that didn’t make the final cut (The Master especially), so who knows what we’ll really get? I’ll read the novel before I see the film, but even that might not prepare me for what Anderson’s going to do to it. He’s going from arguably his bleakest film to his funniest.
I should’ve just written the reviews in Word and posted them once I got my connection back. I had an elaborate double review of Hercules and Lucy called “Demi-God & Goddess” all planned. Instead, I put it off–abetted, perhaps, by the sense of burnout I’d previously alluded to. Not that these are films that demand extensive analysis–even A Most Wanted Man is, all things considered, not especially provocative. But three of these are very good films, and one is often fascinating, even when it is maddening and rather dismaying in some of the choices it makes.