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wilder

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on: July 09, 2018, 05:58:10 PM


A bawdy, acerbic tale of royal intrigue, passion, envy and betrayal in the court of Queen Anne in early 18th century England. At the center of the story is the Queen herself (Olivia Colman), whose relationship with her confidante, adviser and clandestine lover Sarah Churchill, Duchess of Marlborough (Rachel Weisz) is turned upside down by the arrival of the Duchess’s younger cousin Abigail (Emma Stone). Soon the balance of power shifts between the women as they jockey for influence with the Queen and the court.

Directed by Yorgos Lanthimos
Written by Deborah Davis & Tony McNamara
Starring Olivia Colman, Emma Stone, Rachel Weisz, Mark Gatiss, Joe Alwyn, and Nicholas Hoult
Release Date - November 23, 2018


Kal

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Reply #1 on: July 09, 2018, 07:26:27 PM
This looks great and nuts. Yorgos  :bravo: :bravo:


jenkins

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Reply #2 on: July 09, 2018, 08:47:43 PM
he's keeping cinema weird


jenkins

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Reply #3 on: September 04, 2018, 05:58:44 PM
i'm not a fan of period pieces, and i myself haven't fully embraced Lanthimos--but how unpredictable life is indeed, for i expect this one to win me over on both accounts. he makes total sense to me in this context, both for reasons i can explain and unaccountable reasons related to inner impulses



eward

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Reply #4 on: November 28, 2018, 05:29:05 PM
Loved this. Laughed consistently throughout, and ached in all the right places too. And much to my delight, so did the entire (packed) house, at a multiplex no less. Can't wait to see this again. Lanthimos' best since Dogtooth. This style/tone suits him.

Been a fan of Olivia Colman since Peep Show, but she really goes above and beyond here. Incendiary performance.

Definitely making my top ten of 2018.
"Do you laugh at jealousy?"

"No, I don't even laugh at seasickness! I happen to regard jealousy as the seasickness of passion."


putneyswipe

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Reply #5 on: December 09, 2018, 11:32:29 AM
Accidentally deleted my earlier post, but to repeat...  Lanthimos took a huge visual step forward with Sacred Deer (my favorite film last year) and now with this is cementing himself as a master. As a huge fan of Bunuel, I feel like some of his sensibilities have been reincarnated. Though there's nothing here as immediately affecting and disturbing as Keoghan's character in Sacred Deer or as comic and inventive as The Lobster, it's a legitimately crowd-pleasing, almost mainstream movie that retains the signature Lanthimos edge. The way the perfectly-crafted super formally precise costume drama setting contrasts with the ridiculous behavior of the characters reminded me a lot of Phantom Thread. Introduced me to an awesome Elton John deep cut over the end credits, as well.


WorldForgot

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Reply #6 on: December 09, 2018, 01:33:56 PM
Had to see this twice just to make sure I remembered its insults correctly enough to hurl them at my enemies.

A great, twisted romance. I was alone in a theater with some women who, I think, must have assumed I was laughing ironically, but I really, really think this is an effective indictment of "control systems" (self-imposed and within our Cuntry) as feedback loops -- a facade of "individual" always reveals our id as puppet master, or longing stringing us into delusion -- a long-con amidst the people, regardless of why the troops are not called home, and our manipulation of childish cult of personality.

Yorgos and his production team have a great sense for the modern eye (fish-eye envelops us in the period and overlap-editing translates tonal jumps that haven't reached the scene yet) imposing that era into our quick-cut, GoPro/IG grammar, without losing its lippy bite.


jenkins

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Reply #7 on: December 22, 2018, 07:20:41 PM
aside from the score far-too-well imitating the sounds of hell, this was a great movie. the thematic landscape is practical versus emotional, and the emotional win while the practical lose, but from a grand-scale perspective the loss of the practical involves moving backwards. emotionally advantageous for Queen Anne in that time, what a worse right-hand decision Abigail is. she proves it. she is only ever on her own side, she said it. Lady Sarah laid down her basic mechanics in an indisputable manner. the whole movie involves manners, of course. and psychological wordplay against luscious backdrops, yup. Abigail has known pain, which makes her seek comfort, but it is her own comfort she seeks. she nasty. that's the whole thing, they say it, she's a viper. if republicans were cultural types they could really roast the left with this movie, but fortunately for the left the right isn't the cultural type.


pete

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Reply #8 on: December 26, 2018, 07:17:16 PM
love the wide angle shots and also love that the whip pan-push in shot that PT popularized is now almost used exclusively for comedy
“Tragedy is a close-up; comedy, a long shot.”
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Robyn

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Reply #9 on: February 06, 2019, 01:08:28 PM
Loved that ending so much. It was one of those ending that made me wanna rewatch the film straight away to see if I'd enjoy it more. It wasn't my favorite Lanthimos.

Also, too bad that the audience I saw this with wasn't more engaged. Laughing by my own in a theater makes me feel weird.