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The Spielberg Catch-All
Count me in with the love of Lincoln. Agreed that Argo robbed it.
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I think over time, Lincoln will have the same place that SPOTLIGHT and THE BIG SHORT and MONEYBALL/SOCIAL NETWORK, among others, do for me - stuff that I can have on in the background while doing other things, and just enjoy the rhythms of them.
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LINCOLN is exceptional. So close to being a masterpiece -- the final couple of minutes really bug me, but that's fairly minor.
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(11-04-2018, 09:33 AM)Mangy Wrote: As with War of the Worlds, I think Minority Report is a mostly amazing film that peters out in the home stretch, but the good stuff is GREAAAAAAT.

No surely it's the opposite?  It's a good film that then really takes off on the home stretch?  It's a messy film, particularly in the middle with weird bits of out of place humour during the Tom-on-the-run section and Samantha's histrionics, but really finds it's feet when Tom is captured and gets in control again.
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Yeah. It's Kushner's script that elevates Lincoln. It's beautifully structured, the dialogue is off-the-charts, it balances the ensemble extremely well by and large, hits the tone without being a stuffy drama and does a great job of cutting the potential for the film to be high-and-mighty with its humor. From that central framework, Spielberg is able to let that unbelievable cast loose. I still want that spinoff series about Spader, Nelson, and Hawkes, goddammit.
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I love me some Lincoln. But y'all be crazy. Argo deserved to take it.

If anyone was robbed, it was Spader not getting a Best Supporting Actor nod (*cough*andGoodmanforArgo*cough*)

And if we're talking about Spielberg films that were robbed of Oscar glory post-2000, Munich is the film to talk about.

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MUNICH is spectacular.
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"Every civilization finds it necessary to negotiate compromises with its own values."

Goddamn, the Spielberg/Kushner team is fucking magic. The two really bring out the best in each other.
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That last shot of Munich with the WTC in the background still feels like a punch.
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And yet, y'all are skeptical that arguably the greatest American playwright of the Boomer generation and arguably the greatest director of the Boomer generation can't find something new to do with one of America's greatest musicals written by perhaps the best technical practitioner of the form.
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For some reason I've watched THE POST three times this year, once in the theater and then twice on cable, including last night. It's really grown on me, and I think Streep is pretty fantastic.

"I'm talking to Mr. Bradlee now."
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It's Streep's best performance in a long, long time. Puts her turns in things like AUGUST: OSAGE COUNTY (ugh) to shame.

I probably owe it to Spielberg to watch the movie again to see if my only-slightly-warmer-than-lukewarm appraisal has changed. I actually did go looking for a Black Friday deal on the Blu-ray (because my personal Spielberg library must be complete!), but I wasn't willing to pull the trigger at $10. Maybe next year!
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I enjoyed THE POST in the theater, but it's crazy rewatchable on cable.
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(11-29-2018, 12:07 PM)ratty Wrote: I enjoyed THE POST in the theater, but it's crazy rewatchable on cable.

This also applies to BRIDGE OF SPIES.
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(11-29-2018, 12:08 PM)MichaelM Wrote: This also applies to BRIDGE OF SPIES.

Now that's one I have revisited a few times since release. Still really good! The running "gag" of Hanks' cold remains a pretty brilliant touch (I suspect courtesy of the Coens).
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THE POST has that thing I was talking about in the "favorite films of the decade" thread, where you can just fall into the rhythms of it and be swept along. My other favorite Streep moment from it is that slow push-in where she's thinking and then she goes with "You know, let's, let's go. Let's publish."

I need to rewatch BRIDGE OF SPIES, as that's really crept up in my estimation.
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I caught part of The Terminal on cable the other day and I'd totally forgotten Diego Luna was in it.
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Oh, one more thing about THE POST - I said this in the post-release thread for it (no pun intended), but it does feel overstuffed in a way that even something like SAVING PRIVATE RYAN doesn't. I like the movie, but I think you could have done a Playtone miniseries on the same subject matter (not even getting into Watergate!) and probably even gotten Meryl/Hanks to do it, especially if you start with your first episode or two about Ellsberg and Sheehan and the Times.
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(11-29-2018, 12:29 PM)boone daniels Wrote: Oh, one more thing about THE POST - I said this in the post-release thread for it (no pun intended), but it does feel overstuffed in a way that even something like SAVING PRIVATE RYAN doesn't. I like the movie, but I think you could have done a Playtone miniseries on the same subject matter (not even getting into Watergate!) and probably even gotten Meryl/Hanks to do it, especially if you start with your first episode or two about Ellsberg and Sheehan and the Times.

I definitely agree with this. It's like the movie is either not narrowly-focused enough OR needed an even broader scope (of the sort that a miniseries would provide).

It's one of the issues that leads me to feel like some of cast are kind of wasted -- Matthew Rhys, Alison Brie, Carrie Coon, even Sarah Paulson. At best, they kind of get one scene or "moment," and obviously it's great to have a deep bench for your cast, but I wish they got more to do.
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I mean, having read Katherine Graham's book PERSONAL HISTORY, there's a lot that they could have done focusing just on her as a miniseries.
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Any fellow HOOK fans around here?


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A set where you have to deal with Dustin Hoffman and Julia Roberts. Christ. Thank God he had Robin Williams there.

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It really is strange that Spielberg didn't end up recasting Tinkerbell after Roberts walked. Completely unprofessional.

And reshooting Tinkerbell probably wouldn't have been terribly difficult, since the character really doesn't actually interact with anybody else all that much. She's either on oversized sets or bluescreens.
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The fallout of Hook is right when Roberts' career torpedoed until My Best Friend's Wedding.

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