criterionforum.org

The Narrator Returns wrote: Mon May 10, 2021 6:45 pm NBC has cancelled next year's Golden Globes telecast

knives wrote: Mon May 10, 2021 7:36 pm Besides everything that is typically wrong with it what new thing started this?

Pavel wrote: Mon May 10, 2021 8:00 pm Wasn't the biggest problem their willingness to accept gifts, vacations and bribes in general from studios that wanted their film/series to be "considered"?

therewillbeblus wrote: Tue Jul 13, 2021 4:35 pm So now Hamilton is considered a TV movie? I remember when there was rumbling around Oscar chances under consideration as a feature film (which obviously did not happen)- did the distributors decide to categorize it differently for awards chances, or was the categorization imposed by some third-party higher power?

An entity calling itself Cahiers Du Cinema wrote: Top 10 films of 2021:
1. First Cow (Kelly Reichardt)
2. Annette (Leos Carax)
3. Memoria (Apichatpong Weerasethakul)
4. Drive My Car (Ryusuke Hamaguchi)
5. France (Bruno Dumont)
6. The French Dispatch (Wes Anderson)
7. À l'abordage (Guillaume Brac)
8. La Jeune Fille et l'Araignée (Silvan Zürcher and Ramon Zürcher)
9. The Card Counter (Paul Schrader)
10. Benedetta (Paul Verhoeven)

Never Cursed wrote: Mon Nov 29, 2021 2:19 pm Apparently Cahiers du Cinema exists enough in some form to put together a (fairly conservative and slapdash) year-end editorial list:

An entity calling itself Cahiers Du Cinema wrote: Top 10 films of 2021:
1. First Cow (Kelly Reichardt)
2. Annette (Leos Carax)
3. Memoria (Apichatpong Weerasethakul)
4. Drive My Car (Ryusuke Hamaguchi)
5. France (Bruno Dumont)
6. The French Dispatch (Wes Anderson)
7. À l'abordage (Guillaume Brac)
8. La Jeune Fille et l'Araignée (Silvan Zürcher and Ramon Zürcher)
9. The Card Counter (Paul Schrader)
10. Benedetta (Paul Verhoeven)

Jonathan Rosenbaum wrote:What I find most disconcerting about Wes Anderson’s new formalist feature is its attitude towards France, which somehow manages to come across as derisive yet disinterested at the same time: not angry or witty enough to be effective as satire yet not observant enough to seem accurate, at least to a onetime resident of that country such as myself. According to all the American reviews I’ve read, it’s not really about France at all but about the American journalists and critics who report from France about France and the French. But because the movie is basically about them and not about the French, it strikes me as being only half-witted much of the time. The material for a knowing send-up of French culture is present yet unexplored and underdeveloped because the movie doesn’t really seem to care much about French people — only about French movies, French food, and other exports.

hearthesilence wrote: Mon Nov 29, 2021 6:44 pm
Funny to see The French Dispatch on there after seeing Jonathan Rosenbaum's criticism of the film. Discerning French viewers love The French Dispatch - what more do you want???

Jonathan Rosenbaum wrote:What I find most disconcerting about Wes Anderson’s new formalist feature is its attitude towards France, which somehow manages to come across as derisive yet disinterested at the same time: not angry or witty enough to be effective as satire yet not observant enough to seem accurate, at least to a onetime resident of that country such as myself. According to all the American reviews I’ve read, it’s not really about France at all but about the American journalists and critics who report from France about France and the French. But because the movie is basically about them and not about the French, it strikes me as being only half-witted much of the time. The material for a knowing send-up of French culture is present yet unexplored and underdeveloped because the movie doesn’t really seem to care much about French people — only about French movies, French food, and other exports.