The World Beyond BetterMost > The Culture Tent
Armie Hammer & Timothée Chalamet find love in Call Me By Your Name (2017)
Front-Ranger:
Bless the BAFTAs! It was they who awarded our Jake!
southendmd:
--- Quote from: Front-Ranger on January 09, 2018, 01:32:28 pm ---Bless the BAFTAs! It was they who awarded our Jake!
--- End quote ---
Yes, indeed!
Stephen Fry has retired, however, and Joanna Lumley will host this year.
Aloysius J. Gleek:
This.
iana
@yorgosIanthimos
3:22 PM - Jan 8, 2018
499 Retweets 1,578 Likes
https://twitter.com/yorgosIanthimos
https://twitter.com/yorgosIanthimos/status/950462706720628736
nothing but respect for MY three billboards
Obviously referencing:
--- Quote from: Aloysius J. Gleek on October 05, 2017, 07:58:47 am --- Peter Spears
@pjspears
3:41 PM - 4 Oct 2017
5 Retweets 60 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/915708403888066560
This.
Armie Hammer Global
@ArmieHGlobal
3:23 PM - 4 Oct 2017
29 Retweets 106 Likes
https://twitter.com/ArmieHGlobal
https://twitter.com/ArmieHGlobal/status/915703978368880640
Call Me By Your Name posters in the subway in London
iana
@yorgosIanthimos
3:19 PM - 4 Oct 2017
54 Retweets 194 Likes
https://twitter.com/yorgosIanthimos
https://twitter.com/yorgosIanthimos/status/915702858229714945
king’s cross st pancras !!
SHES HERE AND SHES BEAUTIFUL
--- End quote ---
Aloysius J. Gleek:
Just FYI.
--- Quote from: Aloysius J. Gleek on December 12, 2017, 06:38:15 pm --- Peter Spears
@pjspears
1:23 PM - 11 Dec 2017
373 Retweets 1,228 Likes
https://twitter.com/pjspears?lang=en&lang=en
https://twitter.com/pjspears/status/940331330176454656
10 yrs ago we set out to make the movie we needed when we were growing up, a great cinematic romance that challenged conventions and proved that love is love- that the magic, beauty and mystery of first love is something shared by all. Thank you for recognizing that today, HFPA.
--- End quote ---
Aloysius J. Gleek:
Also FYI:
http://www.vulture.com/2018/01/oscars-2018-your-guide-to-the-three-billboards-backlash.html
Your Guide to the
Three Billboards
Backlash
By Nate Jones
January 10, 2018 9:00 am
Two Golden Globe winners. Merrick Morton/Fox Searchlight Pictures
Unlike last year, when the battle between Moonlight and La La Land became for many viewers a proxy war for the struggle against the incoming administration, the first few months of this year’s Oscars race denied us the pleasures of another stark contest. In part, this was because the industry gave us enough offscreen monsters that we didn’t need to turn a movie into one. But it’s also because, for those of us prone to treating awards ceremonies as referendums on the state of social progress, this year has an embarrassment of worthy winners: Get Out, a horror film with a clearer view of American racism than a million liberal-humanist dramas; Lady Bird, Greta Gerwig’s sensitive portrait of mother-daughter tension; and Call Me by Your Name, a love story so beautiful that, as one E! red-carpet host revealed at the Golden Globes, it made his straight friends finally realize gay relationships were as real as their own.
Amid the hubbub over #TimesUp, Oprah’s speech, and James Franco elbowing Tommy Wiseau, you may not have noticed something else that happened at the Globes: With its four wins Sunday night, Martin McDonagh’s Three Billboards Outside Ebbing, Missouri not only became the Oscar front-runner, it was also officially inaugurated as this year’s La La Land, the movie whose awards success is seen as emblematic of America’s various ills.
Few people would have anticipated either of these things happening from reading coverage of Three Billboards after its premiere at the Toronto Film Festival in September. Back then, the movie was widely pitched as standing on the right side of the current political divide, with early critics seeing Frances McDormand’s Mildred Hayes as a standard-bearer for #nastywomen everywhere. (As Owen Gleiberman wrote in Variety, “She’s woke, she’s fierce, she’s beyond shame or scruples, she’s screaming truth to power, she’s charged up with the wrath of an avenger.”) Though the film won the festival’s top prize and McDormand was widely assumed to be a strong contender for Best Actress, Three Billboards was marketed as something different from the usual toothless Oscar bait: pricklier, more raw, less interested in making you love it.
The film came out to generally positive reviews in November, when audiences began noticing something that the Toronto reviews had barely touched on — the film’s odd blind spot on race. I’ll let my colleague Angelica Jade Bastién go into it further later this week, but briefly: The second half of the movie largely belongs to Sam Rockwell’s Dixon, a ne’er-do-well cop with a history of racist violence who gets some measure of redemption by the end of the film. Dixon’s arc has made Rockwell a shoo-in for Best Supporting Actor races at the same time as it’s rubbed some viewers the wrong way thanks to a noticeable bit of sleight of hand: McDonagh never lets us meet the black person Dixon is said to have tortured, which lets his past crimes stay entirely in the abstract. (Dixon does do another terrible thing onscreen, but the movie is careful to give him a very good excuse, and he subsequently suffers so much that his victim immediately forgives him.) And as Kyle Buchanan noted, the film’s only other black characters are all “good-hearted ciphers.”
On Twitter, NPR’s Gene Demby has been one of the leading voices against Three Billboards, calling the film’s rapturous reception at Toronto an indictment of the whiteness of the critical establishment: “I think festival audiences are so used to the centrality of white people’s inner lives treated as the Actual Emotional Stakes that they don’t get what’s janky about a movie set in a town where cops torture black [people] but the plot is about thwarted justice for a white lady,” he wrote in one thread. Other media outlets soon followed suit. The Washington Post ’s Alyssa Rosenberg has written how the film’s handling of Dixon undermines its own moral convictions. At the Daily Beast, Ira Madison III, a McDonagh fan, called the film “unearned, manipulative and altogether offensive.” The HuffPost’s Zeba Blay compared it to a white liberal’s racist uncle.
So yes, a whole lot of people did not like Three Billboards even before the Golden Globes. But on Sunday, the film’s warm embrace from the Hollywood Establishment went from something theoretical to painfully concrete. The film won in Best Supporting Actor (they loved the racist-cop redemption arc), Best Screenplay (over Get Out ’s Jordan Peele), Best Actress in a Drama (no one was upset about this one), and Best Drama (where Get Out wasn’t even competing). Martin McDonagh may not have won in Best Director, but he was part of that all-male slate of nominees, and so indicted all the same.
Accordingly, Three Billboards was treated to the ritual social-media dunking that greets all unworthy awards winners:
Jake Weisman
@weismanjake
11:54 PM - Jan 7, 2018
336 Retweets 2,792 Likes
https://twitter.com/weismanjake
https://twitter.com/weismanjake/status/950229080007307264
I'm actually thrilled Three Billboards Outside Ebbing, Missouri won the Golden Globe for best picture because it gives us an excellent opportunity to remember that there is no justice in this world and most people are dumb sheep with trash opinions.
Never forget that Crash won best picture & it is easily one of the worst pieces of shit ever made. History is on the side of the people who knew that not only was Brokeback Mountain a superior film, but Crash was a piece of garbage written and directed by a Scientologist rapist.
Just as Donald Trump winning the presidency exposed the seedy underbelly of American politics, so does Three Billboards Outside Ebbing, Missouri give us a chance to realize that most movies are horrible, and we MUST do better.
jomny sun
@jonnysun
8:29 PM - 7 Jan 2018
1,143 Retweets 5,527 Likes
https://twitter.com/jonnysun
https://twitter.com/jonnysun/status/950222878745743360
the golden globes ending on a Three Billboards win is like a film about a strong independent woman ending by finding sympathy for the violent and racist cop who perpetrated police brutality
i love love love mcdormand, rockwell, and even mcdonagh’s other work but this film was... woof
Three Billboards followed this up by turning in a strong showing in Tuesday’s BAFTA nominations. This awards season may not have the same crackerjack finish as last year’s, but as least we’ve finally found a good villain.
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