The true patrician has spoken.
>The reason for focussing so closely on the details of “Spotlight,” on what’s in and what’s out, is that the movie leaves nothing else to focus on, because it has no style. Style in movies is a living symbol—an act of elision that, whether in image or gesture, in visual composition or mode of performance, conveys far more than is displayed in action. If images are tiles in a mosaic, stylistic flourishes are cinematic box tops that suggest contents that are not on view but are integral to the film. For “Spotlight,” the absence of style—the style of no style, of a literal-minded and earnest realism that conveys the idea of the story without reaching into its further implications—places attention squarely on what the movie is about.
>There’s no rule to apply that determines what a movie is about. What a movie’s about isn’t determined by its subject, idea, or message. The filmmakers’ desire to limit the story to the investigation, to the work that brings results, doesn’t suffice to define it. What a movie is about is a matter of vision and imagination, of perception and inference—that of the filmmakers, but also that of viewers. In the case of “Spotlight,” its substance is somewhat less than what I imagined, and is doubtless far less that what many other viewers are likely to derive from it. The array of incidents and ideas that McCarthy and Singer round up and pull together is far narrower than the ones that the premise implies. They’ve got hold of a subject that’s too big, too complex, too unruly for their imaginations.
http://www.newyorker.com/culture/richard-brody/the-curiously-generic-journalists-of-spotlight
:let's off loud fart:
What a pretentious douche
>>66631207
How does he manage to be so spot-on about everything?
>>66631207
The takeaway here is
>generic movie about race riots in 1960's
LOLno Birdman was a better-made film
>generic movie about journalists cracking a conspiracy
THIS IS AN IMPORTANT STORY, GUISE, NEVER MIND REVENANT/MAD MAX
Focus on the racism, Anon. Do not forgive.
>>66631333
>>66631276
>>66631264
Three unique styles of shitpost in a row. You've outdone yourself /tv/.
The truth is, Brody wants Spotlight to be something it isn't. Spotlight is not a character drama like (I'm pulling shit from a hat here) Shattered Glass, where you have a few major characters really having their beliefs and intentions probed deeply. Nor is it a "style" drama like All the King's Men, where you have the characters put at a distance in favor of mood and cinematography. Spotlight is an anti-film film: highly restrained, highly real, highly grounded, and therefore completely unique when compared to almost all the other films that came out last year.
>>66631581WHOAH
>>66631581
>spock-like
>the goal of art
>>66631581
>highly restrained, highly real, highly grounded, and therefore completely unique when compared to almost all the other films that came out last year.
The same could be said for Selma, except, y'know... racist white folks.
There's nothing unique about a procedural that All the President's Men didn't already do. It's a great story and generic filmmaking,
>>66631207
>The true patrician has spoken.
But Armond already panned Spotlight.
dick brody might enjoy life more if he crawled out of his own ass every now and then
>>66631276
he is based
he of course trashed on the TFA bandwagon while praising Lucas
His Oscar-prediction list:
Best Picture: “The Revenant”
Best Actor: Leonardo DiCaprio, “The Revenant”
Best Actress: Brie Larson, “Room”
Best Supporting Actor: Sylvester Stallone, “Creed”
Best Supporting Actress: Alicia Vikander, “The Danish Girl”
Animated Feature Film: “Inside Out”
Cinematography: Emmanuel Lubezki, “The Revenant”
Costume Design: “Carol”
Director: Alejandro González Iñárritu, “The Revenant”
Documentary Feature: “Amy”
Documentary Short: “A Girl in the River: The Price of Forgiveness”
Film Editing: “Mad Max: Fury Road”
Foreign Language Film: “Mustang”
Makeup and Hairstyling: “Mad Max: Fury Road”
Music (Original Score): Ennio Morricone, “The Hateful Eight”
Music (Original Song): “Til It Happens to You,” Lady Gaga (“The Hunting Ground”)
Production Design: “The Martian”
Short Film (Animated): “Sanjay’s Super Team”
Short Film (Live Action): “Stutterer”
Sound Editing: “Star Wars: The Force Awakens”
Sound Mixing: “The Revenant”
Visual Effects: “Mad Max: Fury Road”
Writing (Adapted Screenplay): “The Big Short”
Writing (Original Screenplay): “Spotlight”
>For Best Director, I believe that Alejandro González Iñárritu will win, for “The Revenant”—it looks like art but rings like money—even though I think that the candidate catching up on the outside is Lenny Abrahamson, for “Room.” As for Best Documentary Feature,” I’m guessing “Amy,” for the simple reason that there’s nothing that affects the Academy more deeply than lèse-célébrité; there’s an issue that Hollywood can unite behind.
>>66631686
All the President's Men was more than 40 years ago, and it's a completely different film in almost every way. Plus, it didn't win Best Picture, so the point is moot (it did win for Art Direction and Supporting Actor).
Selma, meanwhile, had different competition at a different time. No doubt people will remember Birdman more than Spotlight, but one came out in 2014, and the other came out in 2015.
>>66631581
Eh, I can see merit in that argument. Big Short still shoulda got it though.
>>66631946
Irrelevant and dull post.
>>66631207
This guy is like a second-rate Armond.
>>66631968
Irrelevant and dull poster
>>66631946
>completely different movie in almost every way
No. It's a journalistic procedural. It's identical in the same way every Schwarzenegger movie is identical. There's no original filmmaking here, just a more timely story.
http://www.counterpunch.org/2016/02/29/oscar-hangover-special-why-spotlight-is-a-terrible-film/
Here's a better breakdown of Spotlight.
>>66631992
spock win
A better film:
https://www.youtube.com/watch?v=IiV51Ys5d9M
>>66631207
I wonder if he's William Archer's book 'Play-making', which was handed out to students of Alexander MacKendrick at California Institute of the Arts.
Archer highlights the hyperstylised method of 18th Century 'Manner Comedies' and how they would opt for characters with names like 'Lord Foppington', Sir Turnbelly Clumsy, Sir Lucius O'Trigger, Lovewell, Heartfree, Gripe, etc.
Archer then relates this style with that of the 14th Century Morality plays.
It seems like modern drama has inverted this, instead of Reason showing up at the end of the drama, it has become the prism through which everything is viewed.
>>66631207
Or they just didn't want to sensationalize something as horrible as child rape. Think of a Spotlight movie shot with the style of 300. Would you want to stylize child sodomy. Fuck off, you autistic lib.
>>66634018
>OUR INVESTIGATIVE JOURNALISM WILL BLOT OUT THE SUN
>THEN WE WILL RAPE IN THE SHADE
WE
>academic writing
That's a lot of words for "the movie was boring".
>>66631875
>Foreign Language Film: “Mustang”
Brody confirmed for /tv/
>>66631825
So he is a contrarian?
>>66634018
Pleb detected
>>66636120
There's that word again. Is that how you downvote people when you're here?
Look at this stupid face. It SCREAMS: mediocrity; bourgeoisie; self-complacency... REDDIT.
>>66638615
Fun-fact: the director of Spotlight is the reporter of the 5th season of the Wire who fakes his articles
