driftingseal11 said:Talking about TV shows, I’m honestly shocked that Homeland isn't even mentioned. Not for Best Series, not for The Americans, not even for Lewis—and those have basically swept every award ceremony over the last two years. It looks like that classic Golden Globes pattern where they lean heavily on newer shows just to shake things up, though they did throw in some surprises. We see Orange Is the New Black, Brooklyn Nine-Nine, The Michael J. Fox Show... and am I seeing this right, or is Ernie Spader actually nominated for The Blacklist? 😲 .
No Homeland, no Game of Thrones, no Boardwalk Empire, no Mad Men... They really could have gone without Spader too.
silvergardener6 said:When it comes to the big categories, I was totally blindsided by the nominations for Kate Winslet in Blue Jasmine, and seeing Philomena and Rush up there for Best Picture was a huge shocker.
Why's that? Have you actually sat down and watched Philomena or Labor Day?☕
stormyridge2 said:Alright, you tireless little critics, how would you actually go about putting together a sequel to White House Down that’s a legit, serious action masterpiece?
Honestly, why even set the bar at "serious action masterpiece"? I don't know what that's supposed to look like anymore. It’d be a lot more sensible to just aim for something that's actually fun to watch without treating the audience like they've got zero brain cells left.
Mark Walker97 said:Well, damn. You just completely dismantled his carefully crafted little fantasy with one single move. 😁
The movie is definitely one of the most entertaining ones this year—which was its primary purpose to begin with.
It’s always easier to swallow a plot where one guy "sweeps away" all the bad guys in the White House than it is for anyone to actually send a bunch of hand-picked idiots to the other side of the galaxy to search for the truth about the very origin of the human race. 🤣
Haha. Honestly, to even attempt to describe how ridiculous this entire movie is, you don't actually need some "meticulously crafted" pile of nonsense. And please, do me a favor and explain why it matters if they called the White House or just some random safe room "Olympus"—you know, the mountain where Zeus lives. It’s all the same level of stupidity. Only an American twelve-year-old could probably swallow this garbage, which is probably exactly who the movie was made for anyway.
I went into this fully expecting it to be absolute garbage, and man, did it deliver. Honestly, just the title alone gives you a massive heads-up about the level of trash you're about to sit through. They’re out here sucking up to the White House by calling it Olympus, and that bloated turkey playing the President acts like he’s some kind of Zeus-level powerhouse. And don't even get me started on that showroom dummy Butler—he's just as ridiculous as ever.
How can you guys be so sure she actually squeezed his finger? For all we know, he could have just positioned his hand that way beforehand. 🤷 Either way, I didn't see any actual movement. Not even a single tear rolling down her face. 🤷
Here’s the tear:
He tells her: if you can smell it, squeeze my finger. She looks down at his hand, and it really looks like he gave her finger a tight squeeze. Honestly, it almost looked like he tried to pull his hand away slightly, but the woman just wouldn't let go.
Terry Morris41 said:And you see how women operate? Like, she basically admits she didn't bother booking him a hotel room or anything just so she could rub her new relationship in his face right under his nose. 😁
Yeah, the more you chew on this movie, the more these tiny, significant details start popping out at you.
It really suggests she still cares about him, even if their marriage wasn't exactly a lifelong thing. He left four years ago, and that little girl, who's maybe eight or nine, isn't even his. It's all because of that damn Mary...
analogbear40 said:That’s actually a really interesting point, because honestly, he reminded me so much of Paul Giamatti (the lead in A Separation). 😁 To be fair, while I was watching the whole movie, I was almost certain it was him—it would have made total sense given he carried the lead role in Farhad's previous flick.
Turns out this guy (Ali Mosaffa) is actually bald... though, honestly, that's not even the point. 😁
Personally, I just thought he looked like what G. Bara might look like if he put on a few extra pounds. 😁
Anyway, the more I sit here and chew on this film, the more I find myself liking it. It starts right from that opening scene where Mary is at the airport, shouting and waving behind the glass, desperately trying to get some attention, but nobody notices her—nobody even "hears" her, especially not her husband—and it carries that same weight all the way through to that final hospital scene. Tonight, I’m diving into Ellie, which somehow managed to fly completely under my radar until now...
Man, Farhadi is a freaking genius! This might honestly be the best movie I've seen all year. The acting is top-tier across the board, the script is flawless—just two solid hours of pure cinematic bliss. Yesterday, by some stroke of terrible luck, I ended up watching Grown Ups 2—which is absolute garbage. It’s such mindless trash that I actually felt embarrassed for wasting two hours of my life on it. After being force-fed that toxic waste, I desperately needed an antidote, and then I stumbled upon The Pass. It's an incredibly impressive film from a master storyteller like Farhadi. You know you aren't just watching some cheap daytime soap opera when you hit that final scene: the woman lying in a coma after drinking detergent, desperately squeezing her husband's finger—the very man who drove her to that point—and a single tear rolls down her face because she caught the scent of his perfume. That's how you know you've just watched a genuine masterpiece.
Man, Farhadi is a freaking master! This might honestly be the best movie I’ve seen all year. Every single actor was incredible, the script was top-tier—just two solid hours of pure cinematic bliss. Yesterday, by some stroke of terrible luck, I ended up watching Grown Ups 2—total brain rot and absolute garbage. It was so bad I actually felt embarrassed for wasting two hours of my life on such trash. After being exposed to that toxic waste, I desperately needed an antidote, and then I stumbled upon The Pass. It’s an impressive piece of work from a genius storyteller like Farhadi. You know you aren't just watching some cheap daytime soap opera when you get to that final scene: the woman lying there in the hospital in a coma because she swallowed detergent, desperately squeezing her husband's finger—the very man who drove her to attempt suicide in the first place—and a tear rolls down her face because she caught the scent of his cologne. That right there? That's how you know you've just watched a genuine masterpiece.
Look, I’ll be the first to admit it—the movie leans way too hard on clichés and you can see the plot coming from a mile away, but honestly? It’s not half bad. Plus, Charlize is absolutely killing it. For a thirty-something who basically survives on Coca-Cola for breakfast, hits the drive-thru for lunch, washes it all down with whiskey at night, and spends her entire existence nursing a hangover, she looks incredible.😍
Look, it’s really not all that bad; I think people are blowing things out of proportion here... When the news broke that Meryl Streep was playing Margaret Thatcher, you didn't need to be some genius to figure out she’d nail it. It was a foregone conclusion that she’d land her 155th Oscar nomination—and likely take home the Oscar again. No surprises there. Now, the era of Thatcherism was a brutal stretch of history, especially if you were looking at it from the perspective of blue-collar workers or miners who felt like that woman was sucking them dry. You had the Falklands, the IRA, massive strikes... all that chaos. My gripe is that the movie spends way too much time dwelling on an aging Margaret being lost, senile, or hallucinating, rather than focusing on the actual tension of the era she ruled. All those heavy-hitting historical moments get mentioned, sure, but they feel rushed and kind of lukewarm. Making a biopic about Thatcherism only to spend half the runtime watching her wander around her house talking to her long-dead husband feels pretty half-baked to me.
It’s a solid movie with great performances from George Clooney and his daughter. That said, the plot was pretty predictable—I mean, did anyone actually suspect the father and daughter would make up, or that they'd decide not to sell the estate even if it meant losing a massive fortune? Plus, I found some of that typical Clooney moralizing a bit grating. Still, The Descendants is a good, beautiful film.
Melissa James70 said:Look, not every single movie needs to be some deep, avant-garde masterpiece or a cult classic like what’s listed in this thread's description. Sure, it might not win a Palme d'Or at Cannes or grab a Golden Bear, but if you actually go in wanting to have a good time, you'll laugh—unless, of course, you're too wrapped up in your own high-brow "art house" ideals.
Alright, fair enough. Everyone's got different tastes. But honestly? I spent more time laughing at your comments than I did watching the actual movie. I guess I really am just too weighed down by those "artistic ideals" you keep talking about, whatever that means.😁
Melissa James70 said:Personally, I loved it. And look, I’m not some expert on French culture or anything. But how many times have I watched a movie where a guy moves to some tiny, judgmental backwater town? Once, maybe. But that’s not really the point of the story—it’s about the characters and the situations they find themselves in. It’s actually funny, which makes it one of those rare comedies that’s actually worth watching instead of just being mindless. I mean, American slapstick comedies fill up theaters all the time because people think they're hilarious, when in reality, it's just gross-out humor and cliché after cliché.
Just once? Sounds like you aren't much of a cinephile then. The plot has been chewed over a million times already, and seeing talented actors making these "hilarious" stupid faces is just boring and uninspired. It’s a decent two out of ten for me. And yeah, I'll give you that regarding the silly American comedies. Those mindless flicks pack the houses, kind of like how > had massive success in France. Honestly, a lot of recent European comedies coming out lately are giving those big American hits a run for their money in terms of actual "quality."
To’s just another one of those cliché movies that somehow manages to pull a massive audience in France. Honestly, how many times have you sat through a film where some guy heads out to some backwater town, full of prejudices about the locals being unrefined or stuck in their ways, only to realize he was totally wrong? You know the drill—he discovers how beautiful everything is, how kind everyone is, blah, blah, blah... *yawn*. Since I don't find that kind of predictable nonsense in French comedies particularly entertaining, and I don't speak French well enough to catch any of the local wit anyway, the whole thing felt tedious and draining. Now, don't get me wrong, some of my absolute favorites are actually from France—things like The Castle of My Mother / The Glory of My Meadow, Jean de Florette / Manon of the Springs, Three Colors, even Amélie or Betty Blue... but it’s been a long time since I’ve watched an American film—or anything else, really—that I truly enjoyed.
The movie "High Tension" was easily one of the biggest piles of garbage I’ve sat through in years, and honestly, it still holds a permanent spot in my personal top 10 list of cinematic trash. So, naturally, I decided to give the director another shot and watched Mirrors. God, what a complete waste of ninety minutes—but I guess that’s what happens when I’m being too damn patient😁. I seriously have to wonder what was going through Kiefer’s head when he signed on for this absolute mess...
Joshua Peterson8 said:I just saw this on ABC. It’s a great movie—I’ve actually seen it five times now. First time in a theater, the rest on TV. One thing I noticed, though, is that ABC cut out a specific segment. Right before the scene where they mention the fall of Knoxville, there’s this footage showing a column of refugees with an on-screen caption saying they were fleeing from the Republic of Srpska and numbering about 500,000. I can get why they might want to skip that, but I don't understand how they're allowed to butcher a film like that when there are laws against altering the original version.
I honestly cannot believe this is happening! Where on earth do those idiots at ABC get the right to just hack away at a movie whenever they feel like it? It's bad enough that they never show the end credits properly or that they'll pull the plug on a series after only two episodes of a new season (look no further than Weeds for a recent example), but now they're actually mutilating films too! They have seriously crossed the line with this garbage. 😠
