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Christopher Nolan receives his first Oscar


Kimmo

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4th Time Around

He should have already won

Hey, I'm king of the world, you ought to hear my song, you come on measure me, I'm twenty inches long
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Magic Mike

Lol whilst maestro has time (within the scenes), actors, compassion, a point of view and experimentalism, Oppenheimer has TikTok rhythm, puppets, cold heart, the schemes of the Plot and pretentiousness. Maestro is candid, Oppenheimer has cynicism: wants people to feel they’re “smart”

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clownery
6 hours ago, Ladle Ghoulash said:

That is tea, tho lmao. I personally didn’t think the storytelling was that great. Like why try and tell it thru the lens of a Congressional hearing and do the back and forth between the past and the present when you could…just tell the story in chronological order? Lmao. Didn’t add anything whatsoever and I think, contrary to Nolan’s intentions, framing it around Oppenheimer being the subject of a witch hunt framed him as both a victim and a hero. 

I just absolutely hated the female characters, incredibly bland.

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clownery
9 minutes ago, Magic Mike said:

Lol whilst maestro has time (within the scenes), actors, compassion, a point of view and experimentalism, Oppenheimer has TikTok rhythm, puppets, cold heart, the schemes of the Plot and pretentiousness. Maestro is candid, Oppenheimer has cynicism: wants people to feel they’re “smart”

Oppenheimer is not great but Maestro is a mess, the only good scenes are when Bernstein is orchestrating, a whole Oscar bait made movie and I am a Bradley stan, also (spoilers) that party scene at the end, super unnecessary.

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Magic Mike
13 minutes ago, YuriG said:

whole Oscar bait

That is what everyone is saying, that his second directing experience is “snob”, “fussy”. But I disagree. bradley cooper, who has been looked upon with condescension by the “system”, to which he belongs, tbf, because he is neither an outlaw nor an opponent, is the most unusual “thing” to appear in the American mainstream cinema because he doesn’t care about being embarrassing, taking risks, and he most of all summons an entire tradition of personal interpretation of traditional American spectacle

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