Now that the dust has settled. Is this better than Birdman?
>>69080515
I think so.
they were both boring.
I prefer birdman
>>69081110
You wanna fuck about it? The winner gets to fight the loser in the ass.
>>69080515
>The Revenant went from overpriced possible disaster to successful hit with +500 million at the global box office
to think at some point +350 seemed a stretch.
https://www.youtube.com/watch?v=ZCt8hky4nqc
just this soundtrack makes it way better
>>69082060
>overpriced possible disaster
How so? From the very first trailer the movie seemed liked a guaranteed hit. Unless you're talking about mid-production stuff.
>>69080515
lmao what a shitty poster
for a second i thought it was mirrored
>>69082228
I guess you could say that OP is a shit poster
The oscar should have gone to Tom
I personally enjoyed it more, but Birdman was the better film.
>>69082441
Since leo got one for crawling around with a pained expression on his face, why didn't Adrian Brody get a nomination for Wrecked?
>>69082147
I found out about Alva Noto about a year before the first trailer for The Revenant came out. You have no idea how excited I was when I found out he was doing the soundtrack.
You should definitely check out Alva Noto's Xerrox albums, as well as his stuff with Ryuichi Sakamoto if you haven't already.
>>69082441
Tom Hardy was shit in this and everything else he's done.
Leo has given better performances, but still is a far superior actor compared to Tom, who either overacts or acts like a piece of wood.
>>69080515
>B bl X N B W N N
blyat
>>69082679
thx bro
They aren't comparable.
Just how life as a trapper in the 1800s is uncomparable to a stage playwright in the current year.
>>69082441
it should have gone to the room kid, he wasn't even nominated just so leo wouldn't get beaten by a kid
The Revenant is simply the representation of the artistic bankruptcy plaguing the contemporary film industry.
Like Birdman, Iñárritu's last endeavor in hackery, this latest attempt is to convince the masses that what they are viewing is something deep or meaningful, when all it has done is push forward shallow technicality and exaggeration to make the frame pulsate with vulgar loudness. Characters are mere veneers, the cinematography is pretty but so conspicuous as to be rendered aggravating and the thesis is about as overdone as DiCaprio's acting. The camera feels like it has been waiting all day for a climactic shot and the film's deliberately difficult production history is laid bare in the indulgent cinematography.
Thematic complexity and philosophical subtext take a back seat to what amounts to as basically an action movie with action stars wrapped up in the veil of arthouse. And much like Salome, what lies beneath is ultimately puerile, obscene and holding fascination only for adolescents.
Iñárritu is guilty of something far greater than simply making a bad movie. He is guilty for the crime of gestating his pretense and self-importance, forcing many others to labor over it in a misguided attempt to create art and daring to call the afterbirth a film. Perhaps instead of taking his cast and crew to the ends of the Earth in search of a better shot, the Mexican counterfeit filmmaker should have taken his juvenile and crass sensibilities to the seedy San Fernando valley. There he could have at least made a profit of filming all the money shots he wanted.
