Embarking on “Juno”-hate
“While you won’t yet find a clear front-runner among Best Picture nominees, it’s never too early for Oscar observers to pile on the movie they don’t want to win,” writes Vanity Fair Daily‘s Stu Van Airsdale. “Crash and Little Miss Sunshine kept the bile churning in 2005 and 2006, respectively, and it appears now that Juno is bracing itself for this year’s hater backlash.
“My colleague Tim Long alluded to this phenomenon here the other day, confessing, ‘I guess I sort of — gulp — liked the movie,’ and invoking something called the Collective Anger Quota to excuse his fondness. I, too, found Juno funny, well-acted, and entertaining enough to recommend. That was before Oscar season, however, when hyperbole stakes could be quantified by box-office gross and pop-culture saturation.
“Post January 22, Juno is no longer the quirky, low-budget sensation teeming with hamburger phones and the mile-a-minute bons mots of stripper-turned-screenwriter Diablo ‘Not Her Real Name’ Cody. Or rather, it is all that, now vigorously challenging milestones like There Will Be Blood (my favorite) and No Country for Old Men for Oscar supremacy.
“We’re cool, Juno, but this cannot be.”
There Will Be Blood drinks Juno’s milkshake. I mean Sunny D.
Juno will win best picture. The Coen brothers will take best director. PTA gets adapted screenplay. Lewis, Christie, Bardem, and Ryan.
The one category that interests me the most: Cinematography.
The Reeler is about two months late with this backlash story. The fact that Juno got nommed for BP over Diving Bell, Zodiac and Into the Wild is unfuckin’forgivable.
I think No Country For Old Men will win Best Picture, but if I could vote I’d pick Juno. It’s a well done, intelligent comedy, and that’s a damn hard thing to pull off.
Meanwhile, I found Atonement on the dull side; Michael Clayton smart but cliched; No Country structurally challenged and at its worst when it tries to be deep; and There Will Be Blood a lot more sturm and drang than substance.
The fact that Juno earned a nomination over The Diving Bell and the Butterfly is already shocking.
2 year from now, 10 years from now, 25 years from now… The Diving Bell and the Butterfly will be forever cherished.
Juno? Cute. That’s it.
I agree, the idea that Juno got in there over Diving Bell, Into the Wild, and Zodiac is a complete disgrace.
Atonement and Michael Clayton were both excellent I though, but not best picture material. In a year with so many flat-out masterpieces it’s hard for me to understand how those two, along with Juno, made it to the final round.
No Country and There Will Be Blood certainly deserve their nominations; they’re two of the best films of the decade.
Larry, um I know we all have but one opinion, ane every opinion is valuable and all that…
But to say that Juno is a better film than:
No Country for Old Men
There Will be Blood
The Diving Bell and the Butterfly
The Assassination of Jesse James
Zodiac
Is simply not acceptable. You may have liked Juno more, but it is not the Best Picture.
I’m certainly open to think that Atonement and Michael Clayton are no masterpieces. But Juno does not approach that top-5.
Adonis, that’s my top 5 of ’07 right there.
“Juno” was my least favorite film of last year. I guess, to be fair, I would have to admit that it wasn’t the WORST movie I saw last year. But it was definitely my least favorite. And if I have to watch it beat two of my very favorite films from last year (“Blood” and “No Country”) in a head-to-head race for the BEST PICTURE of last year, it will be the very last Oscar ceremony I ever sit through.
There’s a “For Your Consideration” ad for TRANSFORMERS on this site. If that’s not a perspective check… whew. (First one to spot a NORBIT ad here, holler.)
I look back at a decade like the 1930s and see a lot of hits that were dismissed as frivolous comedies not only hold up well today, but have shown unexpected depth. Meanwhile, many of the more serious films that won awards now seem too heavy, and not nearly as important as was thought.
I don’t know what people will be thinking in 2050, but I know what I like today, and just because something comes in the right wrappings doesn’t mean I’ll bow down at the altar of “seriousness.”
Transformers WILL and SHOULD win the visual effects Oscar
Larry,
Well, I get your response, I think. But there’s a difference between “a serious film” and a poetic flim of extraordinary quality.
I don’t bow down to the altar of seriousness. I do bow down to the altar of poetry.
JUNO is a television show. It’s written like one, shot like one, and acted like one. I wouldn’t care if it won an Emmy. Or an Oscar for “Best Feature Length Television Dramedy Released In Theaters.” The others, like them or not, are at least MOVIES.
Does anyone actually know how much JUNO cost to make?
The “7.5 million” figure on Wikipedia sems iffy to me.
“This is a disgrace, this should not be, bla bla bla bla bla bla bla bla bla bla bla bla…”
WHO.
GIVES.
A.
FUCK.
Everyone whines every single fucking year about how THEIR favourite didn’t get in, “oh but THIS film will be remembered forever and FUCK a film that people happen to love right NOW”.
Just shut the fuck up. The fact that YOU liked a particular film and YOU will enjoy it for years to come is its own reward. People bitch and moan every year about how no one should care about the Oscars, and how it doesn’t matter, and X film didn’t win the best picture but it’s considered a classic while Y film did and no one remembers it bla bla bla bla bla, but continue to whine regardless.
Nothing changes. The whining every year is so fucking wearying. Shove your “films of extraordinary poetry that shouldn’t be ignored” up your collective asses.
And no, I’m not attempting some “man of the people” shtick. Half the time my head is up my own ass too when it comes to film. But some folk act like the academy just fucked their mother.
Enjoy films, have a Coke and a smile, and shut the fuck up.
PS No, I’m not Diablo Cody posting under an alias.
JUNO is wonderful. I can’t begrudge it any of its sucess. This my friends is precisely why film awards are stupid.
ACTIONMAN… curious as to why you think JUNO is going to win best picture…
i predicted on these boards back in october that NO COUNTRY would win best pic, and i believe that more fervently now than i have ever, what with all the guild wins its racking up. the only other feasible scenario in my mind is that NO COUNTRY and THERE WILL BE BLOOD (my favorite) will split votes as they appeal to similar viewers, and ATONEMENT will pick up the win much as it did at the golden globes. i believe that juno has the worst shot out of the entire pack.
If Juno wins BP I will shit a fucking brick. And then I will shit another one.
Juno most likely won’t win Best Picture because it’s handicapped by the lack of an editing nomination and the Academy’s tradition bias against comedies. It’s this year’s Sixth Sense or Fugitive – the crowd-pleaser and money-maker amidst the more ‘serious’ movies.
I think No Country is the frontrunner and if there’s an upset it’ll come from Michael Clayton.
Jeez, Arran, you might have to take a chill pill with the rest of us.
Nobody really expects the Academy to choose the “right” films, but the problem is that the winners DO “earn” a lot more from getting an Oscar. Yeah you can give me a long list of undeserving Oscar winners who were forgotten and burned out after a few years, but the fact is, it’s the only award that matters – and not just for somebody’s ego. You want clout, deals, offers – show me an Oscar. Nobody’s counting how many guild awards so-and-so racks up over their career. Tell Scorsese the Oscars don’t matter. He might have pandered a bit for his, but anybody with any respect for film history would agree that he deserved an Academy Award for Best Director. You could say the same thing about Lumet, Hitchcock, Altman, Kubrick, etc. They don’t have one, but Kevin Costner does. That’s OK?
It’s either a reason to completely discount them, or continue to get increasingly angry when the “wrong” films win. I guess most of us choose the latter.
Juno backlash? That’s so last month. Nowadays I’m throwing stones at the intelligence, or lack thereof, of the twentysomething Abercrombie models in Cloverfield.
I think JUNO will win because the two dark, mean films (NCFOM and TWBB) will cancel each other out and the Academy won’t want to give best picture –two years in a row (THE DEPARTED)– to a mean, dark film.
Uhhh… actionman, that’s simply retarded. Do you really think that last year plays into it a single iota? What does last year’s crop of films have to do with this year’s? They don’t compete against each other. Films are weighed against the other film they’re up against. Do you really think Academy members who loved TWBB are gonna say, sure it was the best movie this year, but I voted for Departed last year so I’d better mix it up this time around… that’s sheer idiocy. Juno may very well win BP but it will have nothing to do with what won or didn’t win last year. Personally, I think people will come to their senses and give the grand prize to TWBB. Too many people had problems with the ending of No Country. Juno is too light. Clayton is too slight (its nomination was the real mind-blower considering how unremarkable it is). I think it’s a two-picture race between Atonement (which was never dead, even if it should’ve been) and TWBB.
MIRA, i will bet you 1 Haggis that NO COUNTRY will win best picture. if you lose, you have to post pictures of yourself eating haggis on these very boards. if i lose, i will watch crash, elah, and 2 episodes of Walker: Texas Ranger as penance. then i will probably weep tears of blood. what say you?
Michael Clayton created its own dark world of corporate greed and corruption, and sustained a mood of suspense and character development throughout its running time. I enjoyed it like I enjoyed Three Days of the Condor. I escaped and believed for two hours. It’s why I go to the movies.
I remember when I went to see Crash after reading enthusiastic praise here. Hated almost every unbelievable minute of it. Reaffirmed my love of Brokeback that year, and watched the travesty of Oscar night unfold. Went to see Million Dollar Baby for the same reasons. Didn’t hate it, but also didn’t find it that special.
Also rented Find Me Guilty, again after reading the enthusiastic praise here. Hated it as well. Don’t know why I added this, but I just wanted to tell someone.
So, it’s a good question to ask: ‘Why do the Oscars matter?’
.
But it’s not a rhetorical question.
First, about 40 Million people watch it, so if you’re going to have a showcase for what film can be, should be, and present the very best of the year in film… well, the Academy Awards is your opportunity.
That’s why it’s such a shame that a film like 4 months, 3 days did not even… get… nominated, which will prevent millions of people from even hearing its name.
We care about Academy awards because we hope to see what we consider to be beauty, poetry, skill, talent, etc. rewarded, and so we can see more of it in the future
That said, we (most avid filmgoers) don’t care about them THAT much, but it’s nice to talk anyway.
Oh, and in my opinion, to compare There Will Be Blood and No Country for Old Men to The Departed is to miss the point… the only thing The Departed has in common with the other two films is violence, and being well-made (although no offense to Departed-lovers… that film’s not in the same league).
Lastly, I really wish Diving Bell would be more recognized because not only does it “deserve” exposure, but I truly think it’s a film that makes most anyone that watches it a better person, even if just by the smallest of fractions…
Anyway, that’s why I care.
Oh, and to be fair, the Academy, by its standards, did an alright job this year: Michael Clayton and Atonement might not be world-class film (in my opinion, anyway), but they are very solid work, mabye even great work.
So 4 out of 5 ain’t bad… although, given the sheer class of the quality of 2007 films, I suppose it would take some pretty serious oddballs to have a poor top-5.
I detested Crash, but thought it was funny that it won Best Picture. People who care about the Oscars are a strange, strange breed of people.
Aguirre, right now, I can’t say I’d make that bet because No Country is looking more and more like a frontrunner each day. That said, the Oscars always have surprises in store and NCfOM’s win is hardly set in stone. I think No Country, TWBB and Diving Bell each walk away with a win in Picture, Director and Screenplay. No idea how it’s going to go. But I could see Schnabel or Harwood upsetting the Coens. PTA won’t win screenplay but could get the director nod, especially if No Country wins BP. Or maybe Coens win both Directing and Screenplay but TWBB takes BP. It’s gonna be interesting. Guess we’ll have to wait and see. But never discount the element of surprise, folks.
It floors me that anyone would complain about “Juno” getting in before complaining about “Atonement” getting in.
EW has a top 10 Bond girl list. http://www.ew.com/ew/gallery/0,,20170028,00.html?iid=top25-20080109-Bond+girls%3A+Best+and+worst
MIRA – fine, but any chance you want to, um, post pictures of you eating a large, juicy haggis here anyway?
also, mr. WILLMAN, it’s silly to even bring this up if i don’t have the energy to vigorously defend my position, but i saw atonement for a second time last night, and was (again) floored by how masterfully the first portion of the novel was adapted by hampton and wright. each shot is so dense with meaning and replete with detail, the novel’s text flawlessly transposed and its themes concisely illustrated without losing any of their depth. i’ve always judged the last half of the film to be less accomplished, but upon seeing it again i think it simply suffers from the inevitable comparison to the first portion. that unfair measure removed, it feels as scattered and deliberately hurried as it should, and while the redgrave speech at the end might be a wee bit too on the nose for me (i feel like it could have breathed a bit more), it very simply completes the narrative triptych in a way that perfectly satisfies the demands of the source material. but really… that first 40 minutes or so… fucking stunning, with every element working to create such an intelligent cohesion.
i enjoyed juno fine as the modest film that it is, so michael clayton is the real WTF nominee for me. and, for all the ridiculous snubs of this year’s oscars, i feel like any ceremony that snubs the horribly bungled and over-praised INTO THE WILD is doing something right. though i know i’m definitely in the minority on that one…
The only redeeming thing about Hitman was new Bond-girl Olga Kurylenko walking around a hotel room topless in a thong.
I would think Wells emailed the director on that one…
The fact that Juno, Atonement and Michael Clayton were all nominated over The Diving Bell & the Butterfly is a travesty. One of the few movies I’ve gone into without seeing the trailer for first, and I was absolutely blown away. It’ll be something I’ll show all my friends and my family when it’s on DVD, and maybe I’ll get ‘em to the theater before that too.
Juno is this years My Big Fat Greek Wedding. A runaway Indie hit. Not Oscar material.
Thrundvangar hit the nail on the head. all you rabid juno fanatics shouldn’t worry. Ms Cody is probably plying a spec-pilot episode script for Juno around town right now.
Let’s put things in perspective. Zodiac was an incredible piece of filmamking. Juno was a silly movie about a pregnancy, nothing more. A train wreck guised as a rom-com. Get over it.
“Zodiac was an incredible piece of filmamking.”
You Zodiac fanboys really need to get a life…NOBODY who votes in any of these awards deals agrees with you…Zodiac is a mediocre pile of shit, a “story” more suitable to an A&E television documentary…
NCFOM and TWBB going against each other reminds me of 1974 when three truly great films (Chinatown, Conversation, Godfather II, in order of my preference) were up. Both deserve to win, but if anything else, especially that ditzcom Juno, wins, it will only be more evidence of the stupidity of these awards.
The fact that Juno, Atonement and Michael Clayton were all nominated over The Diving Bell & the Butterfly is a travesty. One of the few movies I’ve gone into without seeing the trailer for first, and I was absolutely blown away. It’ll be something I’ll show all my friends and my family when it’s on DVD, and maybe I’ll get ‘em to the theater before that too.
“The fact that Juno, Atonement and Michael Clayton were all nominated over The Diving Bell & the Butterfly is a travesty.”
The fact that Juno was nominated over Superbad is a travesty.
The fact that the most contrived movie of the year would be considered for best picture points to the growing irrelevance of the Oscars.
Gee, maybe a bunch of single male movie buffs just aren’t the audience for a comedy about parenting, huh? But it isn’t a personal affront that it got a nomination, it simply appeals to a different crowd than you. You’ve all become the new Bosley Crowthers, giving an automatic 50-point head start not to Stanley Kramer making movies about the Holocaust, but to indie-cred directors making arthouse crime thrillers. There ARE other kinds of movies, and other kinds of people who like them, and frankly I give Juno more credit for saying more real stuff about parents and kids in a fully dramatized fashion than I give to There Will Be Blood for being a one-man show that shows us an ogre in hideous detail, but hardly allows him to interact with anybody and thus to allow his portrait to rise to the level of drama.
Unless you walked out at the 8 minute mark of There Will Be Blood, that comment is unacceptable.
The kind of movie “Juno” is, isn’t the problem. I wouldn’t be bitching about “Knocked Up” being in this position. But the very-visible stretch marks on “Juno”, where you can see just how desperately the script is trying to display a ship-steering, jargon-birthing cinematic voice (oh, but with such lovable, zany characters!), make it exactly what it fears being: DIRELY UN-COOL.
I agree that the Oscars are irrelevant in terms of a film’s creative value. If “No Country” or “Blood” gets crowned, it’s not going to make them MORE of a masterpiece than either of them already are. But when it looks like the Oscars are saluting the right films this year (which I think they are, for the most part), the idea of the one major piece of dogshit in the race somehow emerging triumphant is more angering than it maybe should be.
where you can see just how desperately the script is trying to display a ship-steering, jargon-birthing cinematic voice
Unless you walked out at the 8 minute mark of Juno, that comment is unacceptable.
This is something I’ve been thinking about a lot in recent months, especially as a frequent HE reader.
How do you react to a movie? What is your given response? By that I mean: do you respond emotionally or intellectually to a movie?
Cineastes (for lack of a better word) tend to see movies intellectually. They look at the mise-en-scene, the use of montage, framing — all the tools the filmmaker uses — and judge its success or failure thusly. Cineastes will go to a movie because they’re a fan/admirer of the director, occasionally the writer, NEVER the actor.
The casual filmgoer — the “unwashed masses” someone who shall not be named so often rails about, respond emotionally. They want a laugh, some tears, they want to forget their mortgage, job worries, their lives for a couple hours and escape. As long as they are entertained, they’re unlikely to mind if the lighting’s bland, the direction’s clunky, the dialogue is flat — they see the movie because they like the actor/actress starring in it. They liked the trailer. they saw a good time to be had.
Now look at the response to NCFOM — the cineastes dig it, dig the ending, get the meaning and intent. The rest are frustrated because they were enjoying a tense, pulpy little thriller with likeable and frightening characters — and when the rug is pulled out under them, they boo and hiss and swear about wasting 13 bucks.
JUNO tends to get the opposite reaction. Cineastes can’t get what the fuss is about, but the ones who hated NCFOM and TWBB eat it up. Ultimately however the voting breaks down with the Academy will decide the outcome.
Mira…from one retard to another, if you really think that the Academy DOESN’T take into consideration awards from previous years before voting for the current year, well,you’re mistaken my friend.
Juno has the box office, the word of mouth, the pulse of the nation if you will. For as much as I think that it’s overrated and that it’s a crime that it’s been nominated over films like Zodiac, Diving Bell, Into the Wild, etc, it doesn’t matter…and at the end of the day…I could honestly give a fuck who wins…none of them are paying my rent.
But, Aguirre asked why I thought Juno would win, and now I’ve answered that question. I will be the first to jump for joy if ANY of the other nominated films wins best picture…but again…at the end of the day, as many above have pointed out, who really cares?
And hey! Crash must’ve been a great film…they’re making a TV show out of it now!
JUNO tends to get the opposite reaction. Cineastes can’t get what the fuss is about, but the ones who hated NCFOM and TWBB eat it up
Don’t you mean DRRRRINK IT UP!!! ?
Howling, I don’t disagree with your post as a characterization of cineastes, but I *don’t* think it really aplies to H-e …Wells is about emotion, meaning, and enlightenment…the only technical aspects he talks about are lighting and finishing…even amongst commenters discussions here are generally holistic in nature and almost never technical…not that there’s anythign wrong with that.
Yeah, I did mean that, friend-o.
But I should have been more clear — I wasn’t referring to HE directly, but generally the passioned arguments on this site do tend to divide along those lines. I think one’s appreciation of TWBB and NCFOM runs in proporton to one’s knowledge of film, of genre, of cinema history in general. And “appreciation” doesn’t necessarily have to mean “enjoyment” either.
Little Miss Sunshine and Crash engendered backlashes because they sucked.
Juno is smarter, more resonant and more original than both of them.
And if it beats No Country or TWBB I’ll still be pretty pissed off.
action – don’t worry, ‘Juno’ will lose Best Picture to ‘No Country’. It’s a comedy. It won’t win.
But Ellen Page *will* win Best Actress.
And, since you mentioned Cinematography before, I’m pretty sure it will be ‘Atonement’ (which will win the other smaller technical awards), but it’s possible it will be Elswit for ‘There Will Be Blood’ (which will be largely shut out).
Sean, I sincerely doubt Ellen Page is going to win over Julie Christie. I’ve been wrong before though, and I may just be letting personal emotion cloud my judgment.
I tend to ride the line between cineaste and emotional moviegoer. If I don’t have some sort of visceral response to whatever I’m watching, I probably won’t recommend it to someone as strongly, as I might other films. While I admire craft, I don’t think craft can carry a film forever. While I enjoyed Zodiac, it doesn’t have the emotional resonance for me like some of Fincher’s previous films. Still, I’d recommend it – just not the way I would recommend TWBB or NCFOM or DB&B – 3 films that were the perfect marriage for me – expertly crafted and emotionally satisfying.
Howling: I completely disagree with you about the “Cineaste” vs. the “casual film goer.” Someone who really cares about film is extremely invested in how they experience a movie. We may be pickier about it — we may reject a movie (like Juno) as inauthentic, sentimental or unoriginal, but that’s because we DO care about such things. We want our emotion to be earned — we’re not willing to do the work for the movie, to react as we feel we’re supposed to. It’s subjective, of course. Just as taste in wine is subjective. But that doesn’t mean an oenophile doesn’t know way more about it than I do, and it certainly doesn’t mean that somehow I experience the wine more truthfully because I’m just focused on its taste.
If we’re keeping a list of who is a “cineaste” and who isn’t, here is a partial list of people we can rule out:
David Denby, A.O. Scott, Carina Chocano, Richard Schickel, Ty Burr, Jack Mathews, Todd McCarthy, Carrie Rickey, Lisa Schwarzbaum, and Andrew Sarris.
Their sin? Being among the writers who gave a 100% “top critics” approval rating to “Juno.” Sadly, no one alerted them in advance to how this would obviously render them as mere rubes among Hollywood Elsewhere readers.
http://beta.rottentomatoes.com/m/juno/?critic=creamcrop&name_order=asc
Gee, maybe a bunch of single male movie buffs just aren’t the audience for a comedy about parenting, huh? But it isn’t a personal affront that it got a nomination, it simply appeals to a different crowd than you. You’ve all become the new Bosley Crowthers, giving an automatic 50-point head start not to Stanley Kramer making movies about the Holocaust, but to indie-cred directors making arthouse crime thrillers. There ARE other kinds of movies, and other kinds of people who like them, and frankly I give Juno more credit for saying more real stuff about parents and kids in a fully dramatized fashion than I give to There Will Be Blood for being a one-man show that shows us an ogre in hideous detail, but hardly allows him to interact with anybody and thus to allow his portrait to rise to the level of drama.
Juno is smarter, more resonant and more original than both of them.
And if it beats No Country or TWBB I’ll still be pretty pissed off.
I’ll go with that. Not that TWBB has a chance or should, but No Country should win. I’m just saying these claims that it’s unworthy of a nomination are ridiculous. It’s unworthy of a National Society of Film Critics award, maybe, but not an Oscar nomination.
I was referring to Juno in the last part of that, sorry.
“Sean, I sincerely doubt Ellen Page is going to win over Julie Christie.”
Lad – that’s okay, I’ve sincerely doubted Julie Christie has a shot at winning ever since she was proclaimed the favorite months ago. For a time, I thought it was Linney’s year (still glad she pulled out a nomination), but when they nominated Reitman, they sent a clear message: “We love the shit out of Juno.” They won’t be satisfied to give it screenplay which, let’s face it, is frequently the bone they throw movies they know they should honor but don’t really feel like it (‘Gods and Monsters’ being the quintessential one). ‘Juno’ can’t win Best Picture or Best Director, which leaves Actress, which fits because everybody loves her performance.
where you can see just how desperately the script is trying to display a ship-steering, jargon-birthing cinematic voice
Unless you walked out at the 8 minute mark of Juno, that comment is unacceptable.
Actually, Marcello, we do agree. Of course a cineaste wants a film to earn its love. The casual filmgoer generally just wants a good time. It explains a lot why MEET THE SPARTANS topped the weekend BO.
That or the alarming levels of crack abuse across the land.
Sean, I sincerely doubt Ellen Page is going to win over Julie Christie. I’ve been wrong before though, and I may just be letting personal emotion cloud my judgment.
I tend to ride the line between cineaste and emotional moviegoer. If I don’t have some sort of visceral response to whatever I’m watching, I probably won’t recommend it to someone as strongly, as I might other films. While I admire craft, I don’t think craft can carry a film forever. While I enjoyed Zodiac, it doesn’t have the emotional resonance for me like some of Fincher’s previous films. Still, I’d recommend it – just not the way I would recommend TWBB or NCFOM or DB&B – 3 films that were the perfect marriage for me – expertly crafted and emotionally satisfying.
“There Will Be Blood for being a one-man show that shows us an ogre in hideous detail, but hardly allows him to interact with anybody and thus to allow his portrait to rise to the level of drama.” -Mgmax
To insinuate that a film cannot chronicle the inner demons and the drama found inside one man is ridiculous. A story does not need to encompass the struggles of more than one man for it to be dramatic and There Will Be Blood proves it. Seriously, did you even think about the giant hole in logic that this statement leaves behind?
Juno is smarter, more resonant and more original than both of them.
And if it beats No Country or TWBB I’ll still be pretty pissed off.
I’ll go with that. Not that TWBB has a chance or should, but No Country should win. I’m just saying these claims that it’s unworthy of a nomination are ridiculous. It’s unworthy of a National Society of Film Critics award, maybe, but not an Oscar nomination.
I was referring to Juno in the last part of that, sorry.
“A story does not need to encompass the struggles of more than one man for it to be dramatic and There Will Be Blood proves it.”
“Seriously, did you even think about the giant hole in logic that this statement leaves behind?”
I notice that your statement is guilty of “begging the question”. If you’re trying to convince somebody that ‘There Will Be Blood’ is a great movie, you can’t respond to their criticisms by saying “But ‘There Will Be Blood’ proves that your criticism is moot!”
Sean, I didn’t really feel the need to point out the many examples where inner conflict is enough conflict for drama.
Think of movies like Taxi Driver that revolve around the character’s inner conflict and nothing else. Mgmax just did not think his claim through.
Your work is very good and I appreciate you and hopping for some more informative posts.
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