That viewers don't quite know how to receive Hugo is one of
the strikes against the film, and may affect its chances in the Best Picture category.
Not exact matches
The fierceness of this hatred
against a man who is quite clearly innocent may
strike some as improbable, but the
film is not asking for the credibility a naturalistic
film would.
A cheeky line from the
film «the comic is so much better than the
film», puts in a pre-emptive
strike against viewers who will feel the
film doesn't live up to its graphic novel origins.
That is a
strike against this being a Cloverfield
film, since previous movies in this series have been directed by smaller names.
The
film follows two stories in parallel: in one, neurosurgeon Àlex Brendenmühl looks to uncover the secret in his parents» past that's preventing them from helping him in his fight
against cancer; in the other, a group of kids are institutionalized during the Spanish Civil War because they've been
struck with some condition that renders them numb.
The initial marketing push for Foxcatcher, the upcoming true story - inspired
film by director Bennett Miller (Capote, Moneyball), has
struck a decidedly unnerving and often chilling tone; the latest teaser trailer (see above) is no exception, culminating with Channing Tatum repeatedly smashing his head
against a mirror.
Cooper and cinematographer Masanobu Takayanagi's framing of shots of the mangy - looking Baze brothers
against shadowy backdrops of steel - town Pennsylvania are particularly
striking as much of the
film's narrative is a commentary
against the lackadaisical treatment of military veterans and the dire financial state many find themselves in due to no fault of their own.
Where those
films cleverly offset notions of femininity
against the hair - trigger violence of the plains lifestyle, this one has Jane embody all the humdrum clichés of the loving maternal wife who can't shoot for toffee, keeps a clean and organised house and has to constantly be saved by a sympathetic male compatriot whenever disaster
strikes.
A
film designed to be the fiery response to critics of his combative style is his most pandering (in the first section Solondz uses a red square to obscure a violent (but consensual) sex act, a flaccid pre-emptive
strike against the MPAA) and, in the end, his most fearful and apologetic.
But it's also a boldly attempted
strike against the monolithic corporatization of fan service, and arguably one of the few
films that defines dystopia as nothing less than a marketplace of trademarked, cross-promotional intellectual property.
Set to the backdrop of the Detroit race riots, the
film's opening sequences paint a
striking picture of a city in violent chaos, but its broad scope soon gives way to a more focused telling of police brutality
against a small group of youths.
It's a horror
film, for starters, and a very funny one at that, which is two
strikes against it: Neither horror nor comedy shows up in the Best Picture race very frequently.
To put these two stats into perspective, «La La Land» had the same two
strikes against it last year, and while I felt certain it was going to be the one to overcome them, even a
film as massively popular as it couldn't do it (and it had won Critics» Choice, PGA, and DGA as well).
Tully
strikes a slightly discordant note, jarring
against the
film's otherwise naturalistic tone.
If anything, he was an inspired choice to write and direct «The Avengers»; the only real
strike against him getting the job was that his last feature
film effort, the 2005 space western «Serenity,» tanked at the box office.