Got to see this in full Dolby theater experience with atmos/the whole shibang. Loved it. First half really moves well and the second doesn't do as great as a job with the flow, but overall the performances from both Gaga and Cooper really carry this movie. The portrayal of addiction hit hard. This whole movie hit me really really hard emotionally because I connected to a lot of it... doesn't help Gaga's character's name is literally the name of my ex-girlfriend's who a lot of this movie reminded me of throughout. Yeah so the ending edit fucking wrecked me. Also, This is going to be a huge oscar film.
A Star Is Born (2018)
i won't link it for fear of giving them money, but vox has began the backlash cycle with an article about A Star is Born's problem with consent...
what a trash website lol
what a trash website lol
The article is definitely sensationalizing the moments where
I did agree with the introduction though that each rendition of the film is never about the woman fully. That's what bugged me about the 1937 version. I think What Price Hollywood? is probably the only version that does focus a lot more on the woman.
I only read the introduction and examples. It's an interesting viewpoint but very sensationalized. but I wouldn't dismiss it entirely.
I only read the introduction and examples. It's an interesting viewpoint but very sensationalized. but I wouldn't dismiss it entirely.
of course it’s never fully about the woman. there are two main characters
It didn't really feel like that though in the '37 and '54 versions. Esther/Vicki came second fiddle to Norman and we don't really see development in stardom nearly as much. What Price Hollywood? did a better job at showing that.Michaelf2225 wrote: ↑October 11th, 2018, 9:29 pmof course it’s never fully about the woman. there are two main characters
I still gotta watch the Streisand version though.
He's basically an alt-right apologist so not surprising he would dismiss it entirely.
Anyway, saw this and it was great. Cooper is fantastic, Gaga wonderful too. Insanely impressive directorial debut.
what the fuck is wrong with you, dude
As great as Cooper was, Mendelsohn still gives the best lead actor performance of the year thus far.
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can’t really dismiss the article as a whole, as artemis said, but some stuff just made me eye roll a bit. the manager makes her do what she doesn’t want to? dude welcome to the music industry, where your wishes don’t really freaking matter to the people who see you as a product to sell. at least up until that point when you become way too big to be ignored like that. i thought the douchebag manager treating her the way he did was the point, but whatever.
i did think the way jackson initially approached ally was creepy, but the way he further treats her may serve to initiate dialogue about relationships, clash between the roles of a mentor and a loved one, and whether or not you, as someone who discovered raw talent in somebody and then propped them up for fame, would have a “say” in their future path. it shows their love was toxic from the start, and i don’t really have a problem with this film being about jackson as much as it was about ally. i can totally see how it could be interpreted as something entirely else and maybe it is, but ugh dunno man.
also as the resident liberal snowflake of nf, i hope mods start taking action against people pointlessly baiting other members for their political views. whatever michael’s personal views are, he’s mostly staying away from political discussions, it’s inflammatory to keep bringing random shit up.
i did think the way jackson initially approached ally was creepy, but the way he further treats her may serve to initiate dialogue about relationships, clash between the roles of a mentor and a loved one, and whether or not you, as someone who discovered raw talent in somebody and then propped them up for fame, would have a “say” in their future path. it shows their love was toxic from the start, and i don’t really have a problem with this film being about jackson as much as it was about ally. i can totally see how it could be interpreted as something entirely else and maybe it is, but ugh dunno man.
also as the resident liberal snowflake of nf, i hope mods start taking action against people pointlessly baiting other members for their political views. whatever michael’s personal views are, he’s mostly staying away from political discussions, it’s inflammatory to keep bringing random shit up.
A lot of these bloggers keep suggesting she has no arc then go ahead and criticize her lack of agency without realizing---guys, that very much is her arc. Ally fights for agency and independence during the last half of the movie, to hold onto her identity. She's surrounded by people who push her around as she's consumed by the machines of show business.
Jack bringing her on stage despite her saying "no," I would also suggest, is an extension of this. He's so well intentioned (selfishly so), knowing she can be a massive star if he pushes her outside of her comfort zone, without asking the question whether what he's doing is ultimately a good thing. Fame is a poison for Jack and enables him, and brings both good and bad to Ally.
This is the central conflict of the movie that we watch the consequences of that unfold over the last 20-30 minutes.
-Vader
Jack bringing her on stage despite her saying "no," I would also suggest, is an extension of this. He's so well intentioned (selfishly so), knowing she can be a massive star if he pushes her outside of her comfort zone, without asking the question whether what he's doing is ultimately a good thing. Fame is a poison for Jack and enables him, and brings both good and bad to Ally.
This is the central conflict of the movie that we watch the consequences of that unfold over the last 20-30 minutes.
-Vader
