The Mix For Fifty Shades Of Grey
Posted in the Movies Forum
Since: Feb 13
#1 Feb 19, 2013
From now until the Friday before the Oscars we'll be running daily pieces about why a film does or does not deserve Best Picture. We've analyzed reasons why Michael Haneke's Amour, Quentin Tarantino’s Django Unchained and Benh Zeitlin’s Beasts of the Southern Wild all deserve the win. Earlier, a pair of writers both attacked AND defended Tom Hooper’s Les Miserables. Now Sean’s going to try and liven up the discussion with an argument for David O. Russell’s black comedy Silver Linings Playbook.
[b][url=http://watchwarmbodies online13.metroblog.com/]Watch Warm Bodies Online[/url][/b] Is it against the rules for a Best Picture winner to make audiences laugh? Seriously, this year’s crop of Best Picture nominees is way too serious. Amour steadily marches viewers toward a devastating death. Lincoln does the same, albeit in an historical context. Les Miserables lives up to its label, ladling out heaping helpings of sadness and loss – all in the claustrophobic framings of Tom Hooper’s camera. Even Django Unchained, Beasts of the Southern Wild and Zero Dark Thirty conclude with significant deaths that cast long shadows over everything that came before.
[b][url=http://watchbeautifulc reaturesonline13.snappages.com /]Watch Beautiful Creatures Online[/url][/b] No one dies in David O. Russell’s Silver Linings Playbook, but that isn’t why I’m singling it out of this year’s Oscar race. No, Playbook needs to win this year’s Best Picture race because it reminds us how to live. Wrapped in a warm blanket of familiar familial dysfunction, Playbook crackles with wit and brutal honesty as it ushers a damaged man named Pat (Bradley Cooper) back into the screwed-up world following a short stint in a mental-health facility. He tells everyone he meets about his still-developing plan to reunite with his ex-wife, Nikki (Brea Bee)… whose adultery caused the violent mental snap that landed Pat in the hospital in the first place. But Nikki’s a human MacGuffin, a role player we don’t meet until the film’s final minutes, and who isn’t given a single line of dialogue. She’s insignificant to the larger tapestry of human growth and development Russell is weaving on screen.
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