Oh, come the fuck on.
August 25, 2008 6:54 AMReply
Let me begin by saying that i love your site blogs.indiewire.com a lot now.. back to business lol I cant say that fully agree with what you wrote... care to clear things up for me?
March 6, 2006 8:40 AMReply
I refer Chris to our many posts, though I can't speak for some of the unknown commenters:http://www.indiewire.com/movies/2006/01/reverse_shots_1.htmlhttp://blogs.indiewire.com/reverseshot/archives/007073.html#commentshttp://blogs.indiewire.com/reverseshot/archives/007046.html#comments
March 6, 2006 7:19 AMReply
Crash was Grand Canyon part 2.
March 6, 2006 7:15 AMReply
Oy. I just hope that over the next few years, people end up renting David Cronenberg's Crash by accident. "Honey, I know it's supposed to be edgy, and all, but really: this thing won an Academy Award? There's just so god-darned much wound-fucking." When they release the two-disc Oscar Winner Edition DVD of Crash (the papers are probably being drawn up right now at some table in L.A.) they have to include that interpretive-dance number. "If you're trying to escape a moving car, don't move in slow-motion."
March 6, 2006 7:11 AMReply
None of you are giving any constructive criticisms as to why you think Crash was such a bad movie. This entire thread is opinion driven. I'm very interested in the filmmaking and story reasons why you did not like Crash.... so now I pose the question. What aspects of Crash make it so bad? ? ?
Grand Epic |
March 6, 2006 7:00 AMReply
March 6, 2006 6:26 AMReply
What. the. fuck. whatthefuck. I. am. so. blindingly. pissed.Thank you, academy, for honoring the worst piece of shit that you nominated. Thank you so much. Thank you.Good. Fucking. God. Fuck. fuck. fuck. fuck. fuck.
March 6, 2006 6:23 AMReply
Crash taking the Best Picture Oscar is a good reminder of how irrelevant Academy voters are. How the Oscars reached the level of economic and cultural prominence that they have while consistently failing to reflect true filmmaking talent is dumbfounding. A vote for Crash can only be motivated by a perverse sense of white, middle-aged, middle-class LA guilt. Oh, and a complete lack of understanding of what makes a good film.I believe this vote is an insult to everyone who's worked on the other four nominated films: Brokeback Mountain, Goodnight and Good Luck, Munich and Capote.
March 6, 2006 6:17 AMReply
Biggest fallacy in forward-thinking film circles is that no one remembers who wins Oscars. These films are honored for years to come, tagged with the Oscar-winning moniker, given OSCAR EDITION DVDs, entered into the general lexicon, and often preserved at the National Film Registry. Does this mean that we ever actually believe these awards MEAN anything? Of course not. However, the real question to ask is not whether anyone will remember what won Best Picture 20 years from now--the question is "Would anyone have ever remembered "The Sting" if it had NOT won Best Picture. Pretty fucking doubtful. Ditto for American Beauty, Shakespeare in Love, Driving Miss Daisy, etc. etc.So basically, all this means is that another pile of shit, which purports to question our contemporary world , where we "really are now," by doing nothing more than reaffirming standard beliefs (a la American Beauty), has captured the hearts of American viewers.Big question: Why does Matt Dillon's character get to have such a redemptive story arch, while Thandie Newton remains just a puppet to move him along on his path towards enlightenment?
Film Festival Bob |
March 6, 2006 6:01 AMReply
Ay caramba, folks. Methinks y'all had too many drinks during your Oscar party to have such vituperation.The theater I saw this memorable film in silenced the audience into awe and quietude. And it was very far from LA. West 34th St., to be exact. So quit using LA as the "Crash"-loving excuse for the award.And if you don't think any of those moments in the film might not be happening as we speak, then you're deluded. So what the coincidence of Matt Dillon's cop chancing on Thandie Newton's accident is far fetched? Can't a movie moment that brings conflicting emotions to the fore still be allowed in a Best Picture winner?And besides...in half a year, no one will remember who won these awards anyway. Will that relax you folks?
Alex Smith |
March 6, 2006 5:50 AMReply
That movie was the most absurd piece of los angeles tripe in the world. I call it "Crap."I like to imagine the phone call between Thandie and Howard, after her 'Crash'--"Honey, guess what--""What?""Remember that guy who molested me yesterday?""Oh, sure, of course. What a jerk butt.""Well, you'll never believe this, but he saved my life today.""Wow-- that is weird. Doubly weird.""Why doubly weird?""Well, because his partner, that blonde expressionless guy, remember him?""Yeah, sorta. Does he matter?""Well, he saved MY LIFE today. How weird is that?""So weird, but weirdly, not really all that weird." And anyone who doesn't call the cops once someone has shown up at their house, aimed a gun at you and your daughter and pulled the trigger, should be shot. Where's a good racist (but learning) cop when youneed one? Oh, you know, out shooting another cop's son. I see.
March 6, 2006 5:21 AMReply
As if "Crash" wasn't enough, did anyone else cringe at that montage of "socially important" films with the stuffy white guy congratulating everyone in the room for being so relevant? I was actually trying to write an outline for a film paper when the montage came on, and I just gave up and put the computer away. "Hollywood has never been afraid to challenge our beliefs." Really? Shit, what have I been watching? I better get to the movies right now and see...wait for it..."Eight Below". I need more relevance in my life, guys...I mean, I'm just trying to matter!
March 6, 2006 5:15 AMReply
March 6, 2006 4:04 AMReply
Disillusioning. That about sums it up. It makes me want to quit film.