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Post by darkpast on Dec 19, 2018 6:43:06 GMT
what did you think? I thought it was ok, not really my type of film. Good to see we can still have rape jokes in 2018.
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Post by Nora on Dec 19, 2018 16:37:27 GMT
what did you think? I thought it was ok, not really my type of film. Good to see we can still have rape jokes in 2018. i loved it. was exactly my type of film. i only wish they had spoken in dead pan, like they did in the directors previous movies.
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Post by politicidal on Dec 19, 2018 17:35:24 GMT
Wouldn't mind seeing it. If my theater showed it!! They still got a third of the rooms showing fucking Grinch.
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Post by hi224 on Dec 20, 2018 5:17:03 GMT
Wouldn't mind seeing it. If my theater showed it!! They still got a third of the rooms showing fucking Grinch. should be this weekend actually.
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Post by hi224 on Dec 20, 2018 5:17:22 GMT
what did you think? I thought it was ok, not really my type of film. Good to see we can still have rape jokes in 2018. i loved it. was exactly my type of film. i only wish they had spoken in dead pan, like they did in the directors previous movies. nice glad you liked that as well.
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Post by darkpast on Dec 20, 2018 5:43:37 GMT
what did you think? I thought it was ok, not really my type of film. Good to see we can still have rape jokes in 2018. i loved it. was exactly my type of film. i only wish they had spoken in dead pan, like they did in the directors previous movies. i thought it peaked about an hour or so into it and it kinda of just ends
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Post by Fox in the Snow on Dec 27, 2018 8:31:10 GMT
I liked a lot about it, the narrative kept you invested and I really liked the anti-climactic ending, Rabbits Revenge. Loved most of the visuals, the darkness, shadows and candlelight, but could have done without the seemingly random extreme wide angle shots, perhaps there was some rhyme or reason to them but I missed it. The other minor flaw for me was a lot of the smugly “witty” dialogue came off as a little forced and unnecessary and I soon tired of Colman’s constant shrieking. I was also impressed with the music, particularly the more minimal pieces which along with the decadence of the production design made me think of Peter Greenaway. 8/10, my #4 for the year so far.
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RobotTheLiving
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Post by RobotTheLiving on Dec 27, 2018 9:38:17 GMT
This movie had some big laughss for me for most of it. The dance sequence is best live-action visual gag I've seen this year. I do agree with Nora that it should've been more deadpan but the go for broke performances made up for it. Joe Alwyn and Nicholas Hoult are just as great as Rachel Weisz, Olivia Colman and Emma Stone.
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Post by joekiddlouischama on Jan 9, 2019 9:22:31 GMT
I liked a lot about it, the narrative kept you invested and I really liked the anti-climactic ending, Rabbits Revenge. Loved most of the visuals, the darkness, shadows and candlelight, but could have done without the seemingly random extreme wide angle shots, perhaps there was some rhyme or reason to them but I missed it.The other minor flaw for me was a lot of the smugly “witty” dialogue came off as a little forced and unnecessary and I soon tired of Colman’s constant shrieking. I was also impressed with the music, particularly the more minimal pieces which along with the decadence of the production design made me think of Peter Greenaway. 8/10, my #4 for the year so far. As I noted in the other thread, those shots arguably add to the film's sense of distortion and weirdness. linkBut as you indicated, what really makes the movie visually are the mise-en-scène, the lighting, the colors, and the contrasts.
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Post by joekiddlouischama on Jan 9, 2019 9:24:33 GMT
i loved it. was exactly my type of film. i only wish they had spoken in dead pan, like they did in the directors previous movies. i thought it peaked about an hour or so into it and it kinda of just endsHaving now viewed The Favourite twice, the ending epitomizes the film's decadence, but it also constitutes a commentary on power relations—in short, who retains power after all.
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Post by joekiddlouischama on Jan 9, 2019 9:30:21 GMT
This movie had some big laughss for me for most of it. The dance sequence is best live-action visual gag I've seen this year. I do agree with Nora that it should've been more deadpan but the go for broke performances made up for it. Joe Alwyn and Nicholas Hoult are just as great as Rachel Weisz, Olivia Colman and Emma Stone. ... good point about that dance scene, which epitomizes the film's ability to incorporate anachronisms (another example is Abigail stating, "I'm on MY side: always") without breaking the tone—quite a sophisticated accomplishment for a (satirical) period piece.
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Post by Fox in the Snow on Jan 10, 2019 7:34:59 GMT
I liked a lot about it, the narrative kept you invested and I really liked the anti-climactic ending, Rabbits Revenge. Loved most of the visuals, the darkness, shadows and candlelight, but could have done without the seemingly random extreme wide angle shots, perhaps there was some rhyme or reason to them but I missed it.The other minor flaw for me was a lot of the smugly “witty” dialogue came off as a little forced and unnecessary and I soon tired of Colman’s constant shrieking. I was also impressed with the music, particularly the more minimal pieces which along with the decadence of the production design made me think of Peter Greenaway. 8/10, my #4 for the year so far. As I noted in the other thread, those shots arguably add to the film's sense of distortion and weirdness. linkBut as you indicated, what really makes the movie visually are the mise-en-scène, the lighting, the colors, and the contrasts. That sounds reasonable, I just found it a little distracting and arguably unecessary.
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Post by joekiddlouischama on Jan 13, 2019 8:18:30 GMT
As I noted in the other thread, those shots arguably add to the film's sense of distortion and weirdness. linkBut as you indicated, what really makes the movie visually are the mise-en-scène, the lighting, the colors, and the contrasts. That sounds reasonable, I just found it a little distracting and arguably unecessary.... which is a fair critique. Had the overall movie not proved so satirical, that technique definitely would have been uncalled for.
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Post by louise on Jan 16, 2019 17:26:19 GMT
I absolutely loathed it, thought it was vile. My best friend loved it though, but said her boyfriend walked out after the first 30 minutes, so he must have hated it even more than I did, at least I managed to stay until the end.
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Post by Deleted on Jan 25, 2019 13:18:20 GMT
I can see why a lot of people dont like it.Three main characters that are all hateful and nasty. But I loved it. From the director of the The Lobster and The killing of a sacred deer, this is an an acquired taste. 8/10.
The "LOOK AT ME " scene is something I can watch 50 times over.
One of the best temper tantrums EVER in a movie.
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Post by Vits on Feb 1, 2019 11:49:33 GMT
THE FAVOURITE's plot never ceases to intrigue. It's very funny, although a couple of jokes are predictable. There's 1 rape joke in particular where, if you don't guess the punchline, you haven't seen any adult sitcom this century. The performances are great, but I don't get why Olivia Colman and Emma Stone have been nominated/have won lead actress and supporting actress awards respectively. I think it should be the other way around. I have mixed feelings about the unconventional cinematography. It worked in the gorgeous THE KILLING OF A SACRED DEER (also directed by Yorgos Lanthimos), because it created the right atmosphere for a psychological thriller. This is a satire. Maybe it could work if it was a surreal one, but it's not. There are only a few absurd moments, and they're nothing like what we've seen in Yorgos' other dark comedies (is it a coincidence that this is the 1st movie where he didn't write the script?). On top of that, the use of different lenses and certain camera movements take the viewer out of the movie. This all changed at the end. I won't say what happens in the story, but I will talk about the technical aspects, so I hope you don't consider that a spoiler. There are 2 consecutive shots that made me say "This is the best-directed scene!" They're each much longer than every other shot in the movie and they're both still close-ups. Therefore, we don't get distracted and the performances are allowed to deliver the emotional punch. However, Yorgos then starts to play with editing effects right before the credits roll. We tolerate it when pretentious film school students do it, because they don't have a budget so they feel the need to compensate. What's your excuse? 8/10 ------------------------------------- You can read comments of other movies in my blog.
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Post by hi224 on Feb 1, 2019 19:32:43 GMT
You could argue the queen becomes the protagonist by the conclusion. She becones privy to who Abigail and Sarah are.
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Post by joekiddlouischama on Feb 6, 2019 7:27:36 GMT
THE FAVOURITE's plot never ceases to intrigue. It's very funny, although a couple of jokes are predictable. There's 1 rape joke in particular where, if you don't guess the punchline, you haven't seen any adult sitcom this century. The performances are great, but I don't get why Olivia Colman and Emma Stone have been nominated/have won lead actress and supporting actress awards respectively. I think it should be the other way around. I have mixed feelings about the unconventional cinematography. It worked in the gorgeous THE KILLING OF A SACRED DEER (also directed by Yorgos Lanthimos), because it created the right atmosphere for a psychological thriller. This is a satire. Maybe it could work if it was a surreal one, but it's not. There are only a few absurd moments, and they're nothing like what we've seen in Yorgos' other dark comedies (is it a coincidence that this is the 1st movie where he didn't write the script?). On top of that, the use of different lenses and certain camera movements take the viewer out of the movie. This all changed at the end. I won't say what happens in the story, but I will talk about the technical aspects, so I hope you don't consider that a spoiler. There are 2 consecutive shots that made me say "This is the best-directed scene!" They're each much longer than every other shot in the movie and they're both still close-ups. Therefore, we don't get distracted and the performances are allowed to deliver the emotional punch. However, Yorgos then starts to play with editing effects right before the credits roll. We tolerate it when pretentious film school students do it, because they don't have a budget so they feel the need to compensate. What's your excuse?8/10 ------------------------------------- You can read comments of other movies in my blog.... I feel that it worked well enough because the film's tone is so clearly satirical. Perhaps the surrealism is inherent, if that point makes any sense. This New Yorker review arguably speaks to that last notion: link
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