The Movie Bracket! - Winner announced!

  • Ok this one's gonna be tough

    The Martian vs Yojimbo

    I'd never seen Yojimbo before and absolutely loved it.. so thanks :D You can plainly see how much this film influenced western filmmaking. Almost to the point where this basically feels just like a western film. I really loved the character with the gun.. its interesting given how almost every action movie today features guns prominently and usually unrealistically to the point where they don't feel dangerous or important. Though one character with a gun in a movie where battles are fought with swords feels a lot more serious. He also strikes me as one of the only intelligent people in the film, which is maybe why he sought out a firearm.. though it still doesn't compete with the raw skill and experience of the protagonist. Last I just need to say that I think the protagonist might be the most badass looking hero of any movie I've ever seen.

    Now The Martian is another movie that I really enjoy every time I see it. The book was basically a love letter to NASA and space exploration and as a lifelong space fan myself I loved it. I think the film did a great job at adapting that book and retaining a lot of that excitement and passion which was important to me. Maybe I'm crazy but I also feel like it kind of boosted interest in space and science a bit, or at least coincided with an increased focus on those subjects.. it definitely gets me excited every time I watch it haha. It certainly helps that its just a genuinely fun movie, well put together and with a good cast that gave good performances.

    I'm torn because I want to see more Kurosawa (I've only seen Seven Samurai).. but I don't feel too bad because it has 2 votes already... I think I need to give my vote to The Martian

  • I feel a little dirty for picking Kurosawa. If I had realized that Japan was already represented by Miyazaki, I probably wouldn't have. He's a very easy director to choose and pick for.

    But then you might not have watched Yojimbo for some time, so I feel it was worth it!

  • Never feel dirty for picking Kurosawa. I'm personally just fine with having 2 Japanese directors nominated. There's a whole bunch of American directors on the list, after all.

    I mean, we don't want to get into a whole "token Japanese director" situation. :p

  • I was just thinking of another country or culture that could have been represented in his stead is all. Also Kurosawa has probably the best chance out of all my picks for going deep, and I didn't choose any of my directors hoping they'd make it far, but to bring some different kinds of movies from different places into the conversation.

    I mean, we could easily do 32 Japanese directors if we wanted, but I don't know how many people would be on board with that!

  • I think both Miyazaki and Kurosawa are great directors to have included. They're different enough based on subject matter, years active and the fact that one makes animated films imo.

    I'm curious which director or culture you may have picked instead? I considered Jean-Pierre Jeunet and Luc Besson but neither had 5 films I wanted to choose

  • @Ringedwithtile said in The Movie Bracket! Round 1, Q3 Voting!:

    I was just thinking of another country or culture that could have been represented in his stead is all

    I don't want to be that guy, but that also applies for every non Japanese director you nominated. Innaritu could have replaced John Ford. Etc. It's nice we're thinking of getting more diverse, but that isn't accomplished by just saying "oh, we already have a Japanese director on the list" when we also have like 20 American directors on the list. Just wanted to be clear on that.

    Diversity isn't a checklist. I went into this not trying to fill out "slots" I didn't nominate the only female director on this list because we needed a single female director to meet quota or to meet some sort of diversity threshold... Kathryn Bigelow is legit one of my favorite directors.

    I'm not saying that's what you're saying, only that what you're saying could be misinterpreted and it's best to be super clear about this stuff.

  • This week and next week are finals for me, so I'm going to take a little while to get my votes in (as usual, sorry). Here's two I can do now, though:

    Boogie Nights vs Tomorrowland: Boogie Nights
    I don't know how much more there is to say on this matchup that hasn't already been said. If it wasn't already clear, I have a real weakness for films that balance out a glitzy, glamorous surface with a dark and seedy underbelly, and this dark take on the porn industry during the heyday of the disco phenomenon is one of the strongest examples to date. The scenes of drug use are well-shot, and the film is at once sexy (it's a film at its core about Mark Wahlberg as a porn star, so of course it would have moments of intense sexuality) and utterly revolting in a proportion that makes the film fascinating to look at and think about. As for Tomorrowland, despite having a great score, amazing visuals, and some of my favorite actors (George Clooney and Hugh Laurie alongside, inexplicably, ... Tim McGraw? What?), the script falls short in a big way. I don't know if I would dislike his other films because overall this was good, but I feel like no amount of good directing could save this bomb of a screenplay.

    Ali: Fear Eats the Soul vs Fear and Loathing in Las Vegas: Fear and Loathing in Las Vegas
    Boy howdy am I ever a sucker for well-shot intoxication scenes, and Fear and Loathing has some of the most famous examples of all time. To be up-front, I like Hunter S. Thompson a lot, and being familiar with the subject matter was definitely a hook for me. That said, though, I think that Fear and Loathing would still be my pick even if I had no familiarity with Thompson. Its uniquely comedic tone and drug-fueled romp is as entertaining and fun as it is a gritty and no-holds-barred examination of gonzo journalism's history and practices (even if I thought that naming a character Dr. Gonzo was maybe too much of a wink to the audience). In the case of Ali, there's some weird discrepancies between what the film seems to want to be and do. So much of the film is a cold, unrelenting look at racism and xenophobia and how they function and self-perpetuate. Yet, at the end, Ali reconciles as if nothing had ever happened in the span of a single scene during a shared dance. Are we supposed to assume that his love for her is so strong that he's willing to overlook the times that she decided fitting in with her friends and society writ large was more important than standing up for him? Perhaps the weird thing is that, if the movie hadn't tried to clean things up so nicely at the end, I would have liked this movie more. As it stands, though, the film refuses to take its own premise to its logical conclusion and suffers in my eyes as a result.

  • @TokyoSlim I'm not trying to bring up an actual conversation about diversity and tokenism in a forum game, here. There's only 32 spaces available and cinema is a lot larger than that, clearly. I just wanted to contribute to as wide a selection we could get.

    I didn't pick favorites, exactly. Like Godard is very, very far from my favorite French filmmaker, but I think he makes a good point of conversation, you know?


    I really like the last act of Fear Eats the Soul, but you're right that it isn't an easy thing to parse. I feel it's a little more 2-sided than you, though. I really love that scene where she approaches him at work, trying to apologize, and he just lets his coworkers insult her. I think the guilt is felt on both sides pretty strongly and they clearly aren't happy apart from each other. I really like how cold and empty the scenes feel when he cheats on her. A lesser filmmaker would have made that tantalizing. And hey, depending on who you are, you might feel that cheating on someone you're married to is a greater injustice.

    But I like that about the film, that it presents things in a matter of fact way and allows the audience to make the moral call.

  • @Ringedwithtile said in The Movie Bracket! Round 1, Q3 Voting!:

    I'm not trying to bring up an actual conversation about diversity and tokenism in a forum game, here

    Your intent was undermined by your actual words, then. Just pointing out that it's problematic and something to be aware of.

    That's why I've been trying to clarify what you meant.

  • @TokyoSlim just trying to share some of my over-thought feelings about running this thing while also participating (which I initially didn't want to do) :):):):);(

    @Faaip said in The Movie Bracket! Round 1, Q3 Voting!:

    I'm curious which director or culture you may have picked instead? I considered Jean-Pierre Jeunet and Luc Besson but neither had 5 films I wanted to choose

    Eastern Europe, South America, or Africa. It's a little tougher to pick a director with 5 standouts from those regions given the amount of political turmoil or outright silencing of artists, though. I was thinking about Tarkovsky, but I tried to make all my first round picks pretty accessible, and I don't know if there's a good entry point for him. You just gotta jump in.

  • Boogie Nights vs Tomorrowland

    Boogie Nights

    THE TRACKING SHOTS IN THIS MOVIE! Sorry, they're incredible and need to be shouted from any rooftop available. There's so many memorable ones and they give this movie so much life. The ensemble cast here is also fantastic. Don Cheadle's character and William H. Macy's persona aren't really important to the story at all, yet they are so vibrant here. Even when the eventual fall from grace occurs, this movie doesn't lose its style and still remains fun, despite us seeing some characters suffer. The scene where Dirk is talking about the inspiration for his name and you suddenly see how he imagines it in his head - too good. The celebration of excess and its effects are proudly on display here. Despite all my praise, this still isn't my favorite Paul Thomas Anderson film but I get the feeling this isn't the last we've seen of him on this bracket...


    I know this movie means well. Its core message is that determination and imagination can get you anywhere, you just have to believe. Maybe I'm too cynical of a person but I feel like that message falls flat here, several times. It also plays really hard into the 'geniuses with no common sense' trope but to an alarming degree. Frank as a child is intelligent enough to make a nearly working jetpack but doesn't know where 5 o'clock lands on a clock. Casey asks how Athena is able to drive a car in the middle of a conversation, after having witnessed her driving for quite awhile now. There's a scene where Casey is asking Frank basically how any of this works and his response is along the lines of, "Shut up and just be amazed." I feel like that was directed more at the audience more than anything, as if you begin to actually think about the movie for any amount of time, it falls apart. We're meant to shut up and look at the pretty colors. Even though the film seems to be at least 90% CGI, it doesn't become overbearing and the color palette is quite nice. Overall though, this just feels like a mess of a movie.

    No contest here. Boogie Nights, you got my vote.

    I'll try to watch In the Mouth of Madness here in the next few days, as I actually do like The Hateful Eight and want to give it a little love - if it ends up being worthy of my love, at least.

  • I also watched Tomorrowland, and I also have to give a vote to Boogie Nights.

    Tomorrowland is a weird one. Not terrible. I appreciate its earnestness and its legitimately imaginative trimmings, but it feels like the attention put into this movie fell into the wrong places. Like so much care was put into making sure that these effects looked real that the film that's supposed to be holding them all together doesn't really stick together. There are some fun, interesting sequences, but these characters just sort of get carried around, starting gizmos, going here, going there---it was hard to be invested in any of the pathos or urgency. It seems like something that might have benefited from less money, which feels weird writing. It might have led them to strip things down to the basics a little more, because I think that's where the film's hurting.

    Boogie Nights is fun! Lots of forward momentum, very fun performances, and exuberant craft. It always struck me as a bit pointless, but hey, like a lot of pointless things it's a good time

  • @Ringedwithtile The point was all for that last scene - gotta show that dong after talking about it for over 2 hours.

    Considering I watched Ali right before Boogie Nights, I had two movies in a row with full frontal male nudity. I'm super glad Clooney didn't show anything off in Tomorrowland, I was worried for a second there.

  • I'm sure there's some laser-focused pube-shaving gimzo in that movie somewhere.

    And full frontal male nudity is underrated! More dongers and less boobs. Boobs come out way too much in movies, I'm sick of seeing em.

  • @SabotageTheTruth I died when he pulled it out.. I was totally not expecting that

    @Ringedwithtile said in The Movie Bracket! Round 1, Q3 Voting!:

    Boobs come out way too much in movies, I'm sick of seeing em.

    Hey now, let's not get carried away :P

  • You know you've really started discussing film once the boob to donger ratio is mentioned.

  • @SabotageTheTruth Not to get too far into this discussion, but it's not even the real McCoy, it's a prosthetic (interestingly, the prosthetic is 7 inches. In an interview, an artist from the prop team mentioned that they tried a 12-inch version since the dialogue names his size as 13 inches, but found that it stopped looking real enough and became a strange monstrosity). I can name very few notable movies (Gone Girl, Trainspotting, The Cook, The Thief, His Wife & Her Lover, and Ali: Fear Eats the Soul being a few of them) that show an actual penis on screen. Chalk one up to the dominance of the heterosexual male gaze in cinema, I guess.

    Unrelated, but one of the directors I wish I had remembered would definitely be Mike Nichols. The Graduate and Catch-22 are two of my favorite films of all time.

  • @alexwhiteplays Yeah, I didn't think Wahlberg would actually hang dong in the movie.. but it would only be fair, considering how many other people get naked in that movie. Hard to shoot a movie about porn without at least a little flesh.

  • The Hateful Eight vs In the Mouth of Madness

    I really like the premise of In the Mouth of Madness and I always love a good movie that makes no sense haha. I'm kind of torn though, because I enjoyed it (I thought the ending was brilliant also) but it didn't quite do it for me.

    The Hateful Eight might be my least favorite Tarantino movie. I can't quite place it because the characters were good and the cast was good, but there was just something about it that wasn't right. I think its partly due to being the second western in a row and the lesser of the two imo. I also tend to prefer his epics over his smaller scale movies. Though having said that, it still has the sharp dialogue and fun moments that Tarantino is known for. Also, it features several spectacular mustaches.. and In the Mouth of Madness was severely lacking in that regard.

    I'm going to go ahead and give my vote to The Hateful Eight

  • @alexwhiteplays don't forget Django. That has a real gratuitous dick shot from Foxx, though I think in that case it serviced the scene. A lot of the time I feel like nudity is forced for the sake of a few laughs or trying to seem more "mature" (looking at you, Watchmen). I think Boogie Nights is one of the few movies where the amount of nudity actually makes sense, for obvious reasons.
    Also, I think the Whaldong was designed by Greg Nicotero of The Walking Dead fame. Pretty rad dick!