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My name is Carter, and these dudes wanna fight me*

Everyone’s favorite warring fellows, the Boys Ross, have invited M. Carter @ the Movies and The Mad Hatter to celebrate Oscar season with — what else? — some feelings-hurtin’, in-your-face, no-holds-barred fisticuffs over at the Metro Film Fight Club. Click on the photo or this link to jump into the fray, and do kindly leave a comment or two (warning: it takes awhile on Metro’s site) to salve our wounds. Let the verbal beatdowns commence! 

*Oh, a “Get Carter” reference! How delightfully clever and original. I’ve NEVER heard that one before.
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10 Responses

  1. As mentioned on Ross v Ross I still think Juno is the best movie followed by No Country but you and McG gave the best arguments. It was actually a strong year I enjoyed all five nominated movies.

  2. Aaarh. M. An Atonement hater? Tsk, tsk, tsk. I’m going to go watch it just to spite you, but There Will Be Blood is second for me. And at least your pick wasn’t (gasp) Juno.

    • I’m just not a romantic drama kinda girl, and as much as I like the Knightley/McAvoy pairing the whole movie just seemed so … overwrought. But maybe I should have picked that one so I could force myself to watch it again. Second Viewing and all that.

      • I find Joe Wright to be far more concerned with his camera movements than what those movements capture. He’s certainly a visually striking director, but he’s the uppercrust version of Zack Snyder to me: all filler, no killer. Well, Pride and Prejudice was good, but he’s been getting diminishing returns since with Atonement and the barely passable The Soloist. There’s more attention in this film placed on the tracking shot of Dunkirk and the fucking awful twist ending (which was of course written that way but perhaps it worked in print) than the relationship between the two, and at no point did I care about these characters and I love me some Knightley and McAvoy.

      • Well said, Jake, as always — I couldn’t agree more. I’m a fan of both actors and I feel they fell victim to the melodramatic script and, yes, that dreadful ending which somehow worked in the book but not in the movie. I’ll see “Atonement” again to be sure, but I don’t think it’s my cup of tea.

  3. This was too long to post on that site, so here’s what I once wrote on someone else’s blog about NCFOM and its ending:

    I had an argument with someone who hated the film because he felt that the ending promoted nihilism (the “then I woke up” line signifying Bell losing his last strand of hope). I believe that the ending, naturally builds on the rest of the film and suggests Bell not walling himself off forever but breaking down the walls he built around himself already and accepting the world. When he visits his uncle — left paralyzed by a shooter long ago — the man very gently destroys Bell’s worldview. He points out a family member who was killed at the turn of the century in a horrible fashion, left to bleed out during the night after being shot on the porch of his own house. Hell, the uncle’s mere existence proves that violence didn’t just start getting bad out in the country. Bell’s stereotypical old man belief in the “good ol’ days” is just selective memory.

    Now, is the uncle a paradigm for living in the world? Of course not; he nurses pots of coffee on a weekly basis and his house appears to have been recently mugged then sprinkled with a generous portion of hand grenades. But he’s learned to let go of his hate — it’s important that Bell, who so fears the violence of his time, presses his uncle on why he never sought revenge for what happened to him — and he’s found a certain solace in the truth.

    I think that the final moment is the most human thing the Coens have done, though I think that A Serious Man, their most successful effort to date to match the style of Flannery O’Connor, has a certain fondness for their most grotesque creations yet. It breaks a man of his fear; his “then I woke up” finale is not the shattering of his last tether to decency. It’s his way of finally putting aside his false version of history, allowing him to maybe find a place in life and eventually in death, which is of course the country alluded to in the title. I still have a hard time believing that the Academy would award such a film, given their recent track record of desperately promoting proselytizing dreck. Even the comparatively simpler There Will Be Blood — which I would still argue is a brilliant and ambitious anti-character study — with its ending suggesting the outcome between capitalism and religion for sway over the masses (I would argue that the two combined instead of one outright winning), was too good for the Oscars, as it were. And Juno, in its own way. Damn, 2007 was a great year.

  4. This is a tough one, it’s a toss-up between There Will Be Blood and No Country For Old Men. Both films touch on many issues that I find very interesting and haven’t really been explored in other films.

    • Truth be told, I was “No Country” all the way, but picking “There Will Be Blood” forced me to assess its strengths and weaknesses and see it as a serious contender for the Oscar. Oh, and I had to find a way to use that spoof vid, which a friend sent me back in 2007! 🙂

  5. No Country stops me in my tracks everytime that it is on. Easily one of my top ten films ever.

    Atonement was interesting in its own way by tearing down the glamour of WWII. Not many films have done that.

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