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Old 02-01-2009, 03:39 PM   #16
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I think we need to spread the word more. Maybe my explanation of the point system made it seem too complicated.

A simple post in the other threads asking people to just rank the categories may help.

We could also start PMing specific people asking them to contribute, and to forward that request to one other person to participate.
Sounds good to me, I'll put a word in my sig.
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Old 02-01-2009, 04:32 PM   #17
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I sent in my ballot. I didn't submit noms for Adapted Screenplay or Foreign Language though, as those two are giving me some trouble. I might still submit those though before the deadline if I can pin down my thoughts in those categories.
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Old 02-01-2009, 05:01 PM   #18
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Yeah, I found Adapted rather difficult this year as well.

Obviously Let the Right One In, but also I came up with David Gordon Green's work on Snow Angels, Gomorrah, and Benjamin Button, which I think has a lot of flaws.

Maybe Frost/Nixon? Doubt? Rev Road?

There's a lot of great foreign stuff from this year, but much of it wasn't widely circulated. Jacques Rivette's Don't Touch the Axe, Still Life (from Zhang Ke Jia, who did The World), Fatih Akin's The Edge of Heaven (fucking PHENOMENAL), Claude Chabrol's A Girl Cut In Two, and of course the more widely-seen Tell No One, Waltz With Bashir & I've Loved You So Long.

I just DL'ed A Christmas Tale (it left theatres right before I was going to finally see it, and never came back), and plan on watching it ASAP.
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Old 02-01-2009, 05:04 PM   #19
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Much of the foreign stuff I still haven't gotten to check out yet, which is why I didn't attempt that list at all.

And I really don't think the screenplays for Snow Angels, Button or Rev Road are good enough to even list. Didn't see Doubt or Frost/Nixon either.
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Old 02-01-2009, 11:40 PM   #20
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Doubt and Frost are solid picks, with the former being my favorite adapted that I've seen from last year. Let the Right One In, Benji, and The Dark Knight were in there as well.
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Old 02-01-2009, 11:48 PM   #21
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Yeah, I forgot about The Dark Knight. It's certainly deserving of credit for the fairly intricate plotting and the themes; even if the dialogue fails to rise above cliche for the most part, Eckhart, Oldman and esp. Ledger sell it quite passionately.
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Old 02-01-2009, 11:54 PM   #22
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Yeah, I forgot about The Dark Knight. It's certainly deserving of credit for the fairly intricate plotting and the themes; even if the dialogue fails to rise above cliche for the most part, Eckhart, Oldman and esp. Ledger sell it quite passionately.
The dialogue is spotty, but then you have scenes like Alfred talking about the thief in Burma or Oldman/Bale's final exchange and Oldman's closing monologue that are beyond phenomenal, to me at least.

It was an upgrade over the dialogue from the last film, too.
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Old 02-02-2009, 12:00 AM   #23
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The dialogue is spotty, but then you have scenes like Alfred talking about the thief in Burma or Oldman/Bale's final exchange and Oldman's closing monologue that are beyond phenomenal, to me at least.

It was an upgrade over the dialogue from the last film, too.
I was talking to a couple of guys who are geeky like us about films like this, and we could not stop laughing about the dramatic way Michael Caine says, "I saw a child playing with a ruby ... the size ... of a tangerine."
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Old 02-02-2009, 12:02 AM   #24
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I was talking to a couple of guys who are geeky like us about films like this, and we could not stop laughing about the dramatic way Michael Caine says, "I saw a child playing with a ruby ... the size ... of a tangerine."
Everything about that exchange is fantastic: the delivery, the Cockney accent... brilliant.

You need to see some of his early work, especially Get Carter. It's literally 2 hours of him kicking ass or having sex on the way to kicking ass.
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Old 02-02-2009, 12:07 AM   #25
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For every moment in TDK as great as Alfred's Burma story and Gordon's final monologue, there is something in the screenplay as maddeningly stupid as Fox and the uber-sonar-machine or Two-Face's entire motivation (or lack thereof rather) in the final third of the film.
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Old 02-02-2009, 12:12 AM   #26
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Harvey's motivation makes more sense the more you watch it. I saw it for the 5th time a couple weeks back and had no problems with the 3rd act of the film besides the Sonar Vision.

I dug the thinly veiled allegory to the Patriot Act and how it presented Fox with his moral dilemma, like every other character faced, but dislike how it was used to "even up" the fight with The Joker at the end. It's still less anti-climactic than the rooftop fight between Batman and Joker in Burton's Batman though.

While it doesn't completely work, TDK's still the most ambitious popcorn film I've seen in a long time... perhaps ever.
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Old 02-02-2009, 12:14 AM   #27
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I just didn't like Dent shooting the one cop. I mean, that guy is the only reason Rudy even got in the game against Georgia Tech. That deserves some credit.
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Old 02-02-2009, 12:17 AM   #28
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Remember the strawberries, Mr. Frodo!
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Old 02-02-2009, 12:21 AM   #29
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Double Down Trent came through in the clutch for Frodo in the end, while Token Angry Coach grimaced in the background.
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Old 02-02-2009, 12:28 AM   #30
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As a result, Token Angry Coach tried to kill Richie Rich and his family about a year later. Thankfully, he was thwarted by Robin Williams' Judgmental Father from Jumanji.
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