Favorite Cinematic Moments in Oscar Contenders for 2011 Part Two
Hugo sees a heart-shaped key lying on the train tracks. He steps onto the tracks to get the key. It’s the key he’s been looking for that controls the automaton. A train comes chugging down the tracks. It gets faster and faster until it can’t break for Hugo so it runs him over and keeps chugging through the train station, slicing it clean through. Hugo wakes up in a panic. Suddenly he feels a ticking, a machinery in his chest as the automaton looks on. He strips off his shirt and looks where his heart is supposed to be but it’s the inner workings of a machine. Hugo is a machine. He wakes up in a panic again, and there is that automaton, staring him down. The beauty of Hugo is about how we fear technology, how we must also embrace it, and how, no matter how hard we try, we can never marry it. It can’t become us and we can’t become it. But the beautiful images it helps you make will carry you away, through the sky, to the moon and back. Hugo is full of so many memorable moments — watching a film with Isabelle for the first time, the flashbacks of all of that primitive, beautiful filmmaking. But the dream sequence elevated Hugo to a masterpiece and yet no one ever talks about it. It is frightening, unexpected, disturbing and ultimately, much like the film itself, melancholy. Hugo will find its usefulness one day, once the pulse-beat of Oscar buzz has long since faded.
Meryl Streep is given many scenes to play Margaret Thatcher at every age. But probably the most memorable scenes of her is when she’s playing the very old Thatcher. Streep is never that surprising in how well she can act, how well she can mount a character from breathing, to tone of voice, to hair styles — but when she’s trying to understand the world as it is, how much she’s changed and how nothing makes sense anymore seems to really come to life when she is at the dinner table. She’s seated at the end and has absolutely no idea what’s going on. It is a triumph for Streep who, it must be said, really can’t turn in a bad performance, even in a bad film.
Demian Bichir climbing the tree and having his tools and truck stolen – when he must rush down and chase after the thief, sweating, in a total panic, an invisible man with no one in El Norte to help him. Bichir nails the mixture of fear and shame so well.
When Michelle Williams does the little dance from Princess and the Showgirl it is less of a sloppy mess as the one Marilyn performed but it is one of the sweetest moments in Williams’ performance. She is being watched on screen by Lawrence Olivier who finally understands her gravitational pull. It’s a lovely thing to see Williams uncork like that, to let her girlishness bubble over. While she dips into the darker moments of Monroe’s madness, it is in the lighter moments, like this one, that you can’t help falling in love.
Jessica Chastain brought us so many memorable moments but probably my favorite thing she did was put on that fancy dress, get drunk and barf in public. As she was coming apart, she found the humanity in Celia Foote — so much so that you could have watched a whole movie just about her. How talented is Chastain that she could turn in so many different kinds of performances in one year?
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I love that you mention the dream sequence in Hugo. I like to think it kind of mirrors the whole idea of films being our dreams – making something dreamlike a reality. It was a little nod by Marty that hey, films are where dreams can be made into a visual reality. But that’s just me.
Chastain was the hidden treasure that was finally unearthed in 2011. She is by far the number one celebrity of 2011, no one can take that from her. My favorite role from hers is Take Shelter, but she was magnificent in The Help, Tree of Life, Coriolanus and even in The Debt. She’s something else, truly.
Ill put some of my favorite moments from the Oscar contenders here, (great idea by the way Sasha, if you haven’t done this before you definitely should make it a tradition)
In no order:
TINKER TAILOR SOLDIER SPY
When Smiley tells his story of the encounter with Karla to his colleague (Cumberbatch). Oldman’s performance, with the way the scene is shot with that eclipsing close-up, make the usual cliched line “we are not so different, you and I” have so much more resonance and impact and one of the best quotes from the film. All the while, as any brilliant scene, underneath it uncovers the complete absurdity Cold War espionage. What stands out the most here is Oldman, though the lighting, omnipresent and wondrous production design, help with the transportation to this murky era of disillusionment. Gary Oldman proves yet again what a chameleon he is. Nominating him was one of the best things the Academy did this year.
HUGO
There are quite a few breath-taking moments here, but the one that sticks out to me and almost brings a tear to my eye is Melies (Kingsley) at the end, being introduced by his devoted fan (Stalhbarg) to an audience that remembers and respects him with a standing ovation. This is what he feared he has lost, and through the help of a boy “who likes to fix things” he was fixed much like his beloved automaton. His speech to Hugo, and his final “come dream with me” outro is the crowning achievement of Hugo for me. The magic of movies, the brilliance of Kingsley’s performance, Scorsese’s total respect for the craft and power of film all shine through. And though I am a harsh critic of the first hour of this film, and the depth of Hugo’s character, I am eternally grateful to Scorsese for making a film that I can’t wait to show a future child of mine.
THE ARTIST
When George convinces his studio head to hire Peppy and put her in a film entitled “The German Affair”. A couple of takes need to be done, each more hilarious than the last with Valentin getting more and more distracted by something, someone .. he can’t get it right. He’s nervous, out of his game. Then when he dances with Peppy for the third time (or fourth was it) it clicks and he has to leave. It’s my favorite sequence from this film, humor that comes like second nature, completely telling of the kind of man Valentin is, the kind of artist he is with his craft, and how he succumbs to the beauty and sponteneity of this seemingly random girl. The last moment is very romantic, when they both realize they’ve fallen for each other.
THE IRON LADY
The scene towards the end that has Thatcher, near the end of her premiership, losing her cool in the meeting that ultimately leads to her firing one of her closest advisors. This one scene is all that is needed to show why Thatcher lost power, how her stubbornness and strict adherence to her own set of values and principles ultimately resulted in her own downfall. It’s the best scene Lloyd directs in this whole film by far, with the crazed camera angles and maniacal shifts of point of views, but it is elevated to something great by Meryl Streep’s performance. When she finally fires him and it becomes the awkward moment that it is and she is left alone, how she acts out her range of emotions in that moment: simply brilliant.
THE TREE OF LIFE
So many moments to pick from with this, it’s pretty overwhelming when you think about just picking one. The creation sequence is one of the most gorgeous things I’ve seen on screen, ever. But the heart of the tale lies in 1950s texas and Jack’s childhood. The scene where him and his brother are playing and he convinces his younger brother to place his finger on the end of an air gun, promising that he wont shoot. And then he shoots. There’s so much tension built up in that scene, from something so seemingly trivial, a fractured memory of a man trying to understand the loss of this brother. The way it cuts away from R.L. the moment he experiences the jolt of pain is genius editing. One of the many perfect encapsulations of a memory that really resonated with me.
A BETTER LIFE
Bichir’s major scene toward the end, when he is explaining why he had his son .. to his son. I am willing to bet hard earned money that this was the scene that got him the nomination. In a film I found to be quiet touching yet heavily flawed, I can’t think of another scene that tore me to shreds like this one did in all of 2011. Bichir really sank his teeth into this character and this scene, even when I think of it now, gives me goosebumps. His vulnerability, shame, total love for his son are in full display and he nails it. Simple words turned powerful by a single performance, much like the first memorable scene I described above.
I may be back with more but those are the ones I’ve thought of. There are definitely more from The Descendants, Moneyball, Midnight in Paris, The Girl with the Dragon Tattoo (especially this one, it’s littered with wonderful moments) and A Separation .. but I need to sleep now.
Thanks for asking this question Sasha, this was fun.
The scene in The Help where Viola Davis’ self control shatters and she lashes out at Bryce Dallas Howard.
I can’t pick just one moment but you definitely need one for the Potter finale (even though the AMPAS is too stupid and senile to have nominated it for any major awards)
Nic Grape and Sasha are both right about Chastain. Her and Fassbender’s break into stardom may end up as the most important development of 2011. And I agree on the A Better Life scene, which both shattered the pleasant sequence of a man at work and also propelled the film into the realm of urgency.
The Artist: When Peppy visits George in the hospital, sees the film canister, and looks at the frames of her and George in A German Affair.
When she flashes her breasts at Glenn Close in Albert Nobbs, Janet McTeer does it in such a way that it’s still in keeping with the “masculine” existence her character is living. Also, the panic Close displays when her Nobbs’ secret has been discovered rings very true.
The scene in The Tree of Life when the kids go running out to play in the cloud of DDT remains powerfully ingrained in my mind.
The scene in War Horse in which the young German brothers face the firing squad, with the perspective of the shot from the windmill, was sad but artful. Also in that film, while cliche, the scene in which the German and the British soldiers free the horse from the barbed wire was effectively done.
Five Favorite Movie Scenes of 2011:
Shame- When we first meet Carey Mulligan she steps out of the shower to greet her brother completely naked. We are not only introduced to the hurricane that is Sissy but at this moment and throughout the rest of the film, we may not know all the details but we know that these siblings have a very twisted relationship.
War Horse- The scene where the American and German soldier work together to free Joey. I may not have loved this film but that scene really got to me.
The Muppets- The Muppets perform Rainbow Connection at the benefit. I don’t think I have cried harder during a movie more than I did during that scene all my childhood memories came back to life in that scene. BONUS: The Moopets cover of the song was simply brilliant as well. The revised lyrics are absolutely hysterical and it’s always great to see Dave Grohl.
Attack the Block- When Moses risks his life to save the world. The at first unlikable Moses grew on me throughout the film but at this moment he became a true hero.
Drive- The Elevator Scene. Wish I could come up with a more original example from this film but it’s just so gorgeous.
Sasha, I don’t think you truly loved anything about Streep’s performance or you would have devoted a post to her Berlinale Award speech.
Just kidding.
But, seriously, I didn’t care for A Better Life as a whole, but that scene you referenced was brilliant. However, it had as much to do with Bichir as it did with how the director set it up.
I recommend anyone to re-watch the Iron Lady based on pure performance.
Meryl’s stark and haunting portrayal of old age dementia, her eyes seek comprehension of the present whilst involuntary leaps to the past. I and some relations lived with my late grandmother during the last decade of her life; watching Meryl’s acting was personally a haunting experience, I watched Meryl and I saw my gran, the years of observing an old lady, watching her shake, how she reacted physically and emotionally to any present impact, how she swallowed drink and food and just like in the film, the nuanced reactions–anyone who has taken care of the elderly will see great, painful truths when watching the Iron Lady.
Like Thatcher, my grandmother was formidable during her more vibrant years and the toll of stress and painful decisions cumulatively impacted her mental decline. I saw the parallels in the Iron Lady.
And most times, even when taken care of, the elderly are left alone to their own mental devices. What else to do? Watch television, play cards, read stories, talk about years gone by, when one is too weak to travel. So like Thatcher in the film, surrounded by caregivers, really lonely in one’s own world.
For me, it was a portrait, bluntly, of loneliness, decline and death.
I forgot a couple of other moments (I was only sticking with the top nods and forgot some of the other categories):
In Pina, the whole use of 3D in combination with dance is stunning, but my favourite immersion into Pina’s choreography is in the first dance where you feel like you are actually participating in the performance itself. That was an absolutely exhilarating experience. The other dance numbers that really grabbed me were one around the middle of the film involving two male dancers who are emotionally connected, with one screaming out to the other in emotional agony and then being carried away by the latter, and another one towards the end where the dancers are essentially dancing around in water and on a rock mounted on a stage.
Another key moment that grabbed me in a film was in Monsieur Lazhar, in which a child has an emotional breakdown during a confession in the classroom. The kids in this film are amazing.
My favorite scene in Hugo is when the kids open that book about film history and the pictures from the films start popping up. that is also the moment when, for me, the good movie in Hugo begins.
I also loved that moment when Bryce Dallas Howard finds out that she ate the shit pie and Sissy Spacek starts laughing.
Sasha, that shot of Hugo, WHICH I HAVEN’T SEEN YET BY THE WAY, doesn’t resemble a HUGE SPOILER?
Just wondering if you should have been so kind of keeping that shot in the “dark” or maybe have left it for the article itself with a “SPOILER” warning in the front. I read there was a twist in the film and I seem to know now which one it is.
Now, watching Hugo won’t be the same for me. Remember, Hugo hasn’t opened everywhere.
In Hugo, which was my favorite movie of 2011, there are so many great sequences, but the one that sticks out in my head right this moment is when Rene Tabard meets Jeanne D’Alcy and compliments her on her acting work. So much is revealed in that moment in her eyes. I was moved to tears by her reaction to what must have been her first fan in quite some time.
My favorite moment in Midnight In Paris is when Gil meets Salvador Dali at the cafe. Brody was so good I am officially lobbying for a Dali biopic starring him. Close second for favorite moment in the movie is Hemmingway’s monologue in the car.
The Artist has one shot that would have been on my list of the top 10 shots of the year if I made such a list. It’s the shot of Valentin pouring the whiskey on his own reflection. Simply marvelous shot, that is.
For The Descendants, I’ve gotta go with the showdown between Matt and Brian Speer. Matthew Lillard really shines in this scene, which isnt something I thought I’d say ever. Totally different than what you’re expecting, but in a good way.
I find it nearly impossible to single out one moment in The Tree Of Life, but if I absolutely had to, I’d say the moment that hit me hardest was when Brad Pitt tells his son that, aside from him, he’s drawn a zilch in his life. That moment between father and son was honest, painful and full of love.
War Horse was a little hokey for my tastes, but the scene where the soldiers cut Joey out of the barbed wire was one of the best of the year easily.
The final shot of Moneyball was a killer, focused on the eyes of Billy Beane as he listens to his daughter sing.
I didn’t see The Help or Extremely Loud, so I’ve got no moments to mention from those. I plan on watching The Help this week before the Oscars, and I have no plans whatsoever to watch that Daldry garbage. The trailer was already more than I’d like to see. The only other movies I’m planning on catching up with before Sunday are A Better Life and A Separation.
Jesus Alonso, while I do agree that this post should have a big fat spoiler alert, you’ve got nothing to fear regarding Hugo. The scene Sasha mentioned is not the “twist” of the movie. Honestly there isn’t really a twist in the movie so much as there’s a major shift in the subject matter for the second half of the movie. The movie begins the way the trailer suggested it would, but ultimately goes SO much deeper than that by the second half.
Jesus Alonso,
As Chris Price says, that moment is not a twist. The shot comes as a surprise, but I think the sense of surprise will be preserved when you see the film.
We might move that shot to after the cut. I’ll check with Sasha in the morning (it’s pre-dawn here now)
My two cents
‘The Help’ – The opening scene where Skeeter asks Aibileen what it is like to raise white children when someone else is looking after her own child. The way Viola’s face changes – first thinking about the question, almost shocked it was asked, then looking at the photo of her son and all that memory flooding back. She can’t think of an answer through the grief, so she looks out the window trying to find the answer there.
‘The Rise of the Planet of the Apes’ – John Lithgow is having is relapse, using his fork the wrong way around. Cesar gently grabs it and corrects if grandfather. The look in Cesar/Andy Serkis eyes is haunting and heart breaking.
‘My Week With Marylin’ – “Let’s just say, as I’m in England, I sleep in nothing but Yardleys Lavendar.” Williams recaptures the magic that is Marilyn perfectly.
‘Moneyball’ – Billy’s daughter signs the song to him – you can feel his awe and love for his daughter.
‘The Tree of Life’ – The dinosaur scene. So touching – the predator showing pity (maybe he just wanted the chase, but I like to see the best side of creatures) moved me so much.
‘A Separation’ – Razieh on the phone making sure it was not a sin to undress an old man with dementia who had wet himself – your heart broke for this weak woman trapped by her own fears.
‘A Better Life’ – Damien Bichir gets a visit from his sister. The hardships these two people share will forever bind them.
‘Margin Call’ – Stanley Tucci and Demi Moore waiting in the office, facing unemployment and thankful they will no longer be embroiled in the mess they have been facing.
and I have to second ‘Rainbow Connection’
“The Artist” – When Valentin watches his movies and burns all them. The fire in the house, the “bang”… and Uggie saving the day of that sequence on his way
“The Help” – Minny going to the house of Hallie to give her a very special present.
“War Horse” – The final encounter of the boy with his parents.
Jesus Alonso
That’s not a spoiler. Not at all.
can’t understand this meryll streep love, think she gets nominations because of the lact of good female rolls and force of habit, u guys get her nominated the minute her name is associated with a movie
Nik Graoe said – His speech to Hugo, and his final “come dream with me” outro is the crowning achievement of Hugo for me. The magic of movies, the brilliance of Kingsley’s performance, Scorsese’s total respect for the craft and power of film all shine through.
^ *****That is my defining cinematic moment of 2011.*****
And I love what Aubrey said about Streep’s old age Thatcher portrayal and about how once formidable people lose it in their declining years. Streep was utterly superb in that old age portrayal. I would be fine with her or Davis winning. 2 great performances.
Oskar giving his key to Mr Black (Jeffrey Wright).
Harry’s emergence from the pensieve.
So many from DH2….. Harry’s confrontation with the Gray Lady.
@Bob Burns well too bad it wasn’t nominated for Best Picture (which was a big topic on Twitter and Facebook, and it was one of the best reviewed films of the year), unless it kinda has something to do with a british film winning last year.
@SC8O hey it doesn’t need to win an Oscar, I mean it hasn’t for 10 years and all the HP movies became a big success like the Black Knight, Lion King, Fast and Furious, Twilight, The Adventures of Tin Tin, Star Wars, Star Trek, and even Mission Imposssible.
The Girl with the Dragon Tattoo – the climactic sequence that begins with the killer putting on “Sail Away” by Enya, and ending with Lisbeth running him down on her motorbike. That song was a wonderfully subversive choice.
@Aubrey
“I recommend anyone to re-watch the Iron Lady based on pure performance”
To watch a movie like that would be retarded. Who does that shit?
Iron Lady sucks ass, but, @Nick Grape, you’re right that’s the only scene in that mediocre mess worth two pennies.
There is nothing memorable about Streep’s performance in The Iron Lady–I sat in the theater looking at my watch during most of it.
@Sasha…that initial dream sequence with the train was definitely a highlight of that first 2/3 of the film. I hated the whole notebook plot device. Hugo, Logan and Scorsese shows very little interest in the father when he is alive and very little concern about his death, but for whatever reason that notebook is so damn important? Either have more of the father in the film and don’t rush him out and disrespect him like that, or have Melies be the focus of the film pure and simple. I cannot wait til they make a movie just about Melies. That will be the day, and I hope Ben Kingsley will still be making movies when they do it. He was robbed of an Oscar nomination by stoner generation frontman Jonah Hill.
@Nik Grape…in regards to Tinker Tailor, you are spot on. In his description of the character, Oldman really “wanted to slay the dragon,” but in this sequence it is we, the audience, that must face this dragon head-on. He had been lurking in the background and up until then he had been no threat, but this is where he comes alive. He knows all without his colleagues knowing all, ala him knowing that Guillam is gay without having to say a word. Being gay in London back then was illegal and easily a piece of information that could be used to blackmail you. So is this dragon, this lush, fascinating dragon a Glaurung (from JRR Tolkien’s The Silmarillion) or an Elliot (from Pete’s Dragon)? Why, it’s a little bit of both, I guess..
I hated the whole notebook plot device. Hugo, Logan and Scorsese shows very little interest in the father when he is alive and very little concern about his death, but for whatever reason that notebook is so damn important? Either have more of the father in the film and don’t rush him out and disrespect him like that, or have Melies be the focus of the film pure and simple
I hear this complaint a lot and I don’t get it. Of course the notebook is important because it ties the kid to his father and it ties Meilies to his past. Without the notebook there is no story, there is no movie. It’s what he wants back and what Meilies pretends to burn. Why is this concept so hard to accept/grasp?
The way you and others want to simplify and condense the film would be the most boring movie I could ever imagine, nothing original and like every other kid movie out there. When you smooth out the rough edges of art you transform it out of its uniqueness.
There is nothing memorable about Streep’s performance in The Iron Lady–I sat in the theater looking at my watch during most of it.
Though I respect your opinion, I am glad that not everyone feels the same way as you do. Next to Michael Fassbender in “Shame” and Olivia Coleman in “Tyrannosaur”, she gave the most memorable performance from the whole year. Those interested in virtuoso acting should really give it another chance, agreed with Aubrey here.
A few more memorable scenes.
A SEPARATION
Another film with a plethora of memorable scenes and moments, but the opening shot is one of the brilliant strokes that sticks with you long after the film is done. Both wife and husband state their case to an off-screen judge, making a case that is immediately impossible to evaluate as both have equally important points. The dialogue (“He doesn’t even know you’re his son” .. “I know he’s my father”), the subtle performances and the way it is shot (we are placed in the position of the judge, the characters are presenting their case to US .. it’s brilliant) make it a stand out. Nominating this screenplay is another smart choice the Academy made.
THE GIRL WITH THE DRAGON TATTOO
Another film with memorable scenes, starting with the signature Fincher-esque opening credits, the one that sticks out to me among others is the quick scene we see of an underground foe trying to steal Lizbeth’s bag in the metro. The music, the pace, Lizbeth’s reaction and her will and determination to get the bag back, the rabid camera movement … it’s a perfect scene that speaks volumes about Lizbeth’s character and pulsates with energy that is present in the whole film. Editing should be going to Dragon Tattoo without a shadow of a doubt and Fincher was snubbed, big time.
BRIDESMAIDS
My favorite comedy of 2011. So funny I had to see it twice in theaters. One of my favorite scenes doesn’t even feature McCarthy (who is the funniest thing in it, but not the one I remember first) but the scene in the engagement party where Kristen Wiig and Rose Byrne try to one-up each other with their speeches. The comedy builds brilliantly, the dialogue is as sharp as ever (“Speaking of Consuelo..”) and it very skillfully shows Annie’s struggle to remain an important factor in her friend’s life while a competitor has the bigger mic at the moment.
(A NOTE: only four of my top ten films are being represented at the Kodak this year. These memorable cinematic moments are specifically for Oscar conteders, though there are so many more from the year in films that were shut out or not even considered)
@wisconsinkel: You hit the nail on the head my friend. I adore that scene.
@Sasha: The notebook is extremely important to the story. Had Scorsese concentrated just a little bit more on Hugo’s relationship with his father, sacrificing perhaps a few of those scenes where Hugo tries to get it back so desparatly, I think there wouldn’t be that many complaints. The weight of importance of the notebook is solely carried on the shoulders of Hugo, and it stumbles because his shoulders alone are too weak.
Dear Brian and Benjamin Forestieri,
Why should you rewatch The Iron Lady?
“Because you will receive a valuable education, in spite of yourself.”
Dear Aubrey:
Will not sit through The Iron Lady again. Two Tylenol PMs are much cheaper.
Brian, Tylenol?
“Yes, the medicine is harsh, but the patient requires it”.
Good god, Meryl Streep’s performance in The Iron Lady is actually good???
Luke, I know it’s crazy to think Meryl Streep can give a good performance! You should see it though, and judge for yourself
Nik, I agree the opening shot of the Separation is brilliant in which the movie asks us to be the judge right from the start. However, the movie treads on such grey area that it is impossible to be a fair judge because arguments from both sides are valid. It also makes the last scene more powerful when they are sitting apart, separated by a partition of some sort.
DEAD @ Aubrey. You had me cackling like a hyena. Priceless!
The Tree of Life – the creation sequence
Melancholia – the end of the world sequence (prologue)
Drive – the elevator scene (from the kiss to the skull-crushing)
Tinker Tailor Soldier Spy – Smiley recounts his previous exchange with Karla
The Artist – Peppy tearfully watching George Valentin slipping into the quicksand on screen as George also watches on, realising he has become a man out of his time.
Shame – Brandon goes running across midtown Manhattan in an extraordinary tracking shot.
Moneyball – the last scene as Billy listens to his daughter’s CD in the car. In that moment, the meaning of his life becomes clear.
Martha Marcy May Marlene – Martha goes swimming one last time in the lake. We see her isolated in ling shot, totally alone – and then we see what she is looking at.
The Descendants – the weight of her mother’s situation dawns on eldest daughter Alex as she sinks beneath the surface of the family swimming pool in anguish.
Young Adult – Mavis final encounter with Matt after her plan to win back ex-beau Buddy finally skids completely off the rails.
Super 8 – the shooting of the film within the film just before the big train crash. Elle Fanning becomes a major star in just a matter of moments.
@Aubrey
Good on you.
I’m still sticking with my favorite scene of the year with Streep in The Iron Lady as old lady Thatcher going out to buy milk. That opening scene is simply jaw-dropping. That scene alone drew me into the entire film. It’s called great acting.
The scenes depicting dementia may not strike a chord with some people because it is very difficult to even tell how dementia develops from its very early stages….BUT Ms. Streep’s scenes were poignant.
Take Shelter wasn’t nominated for an Oscar, but I would be a butthead if I didn’t remind everyone here how awesome Michael Shannon and Jessica Chastain were in this film. Two scenes from that movie will never leave my memory: The Lion’s Club dinner where Deward approaches Curtis in the middle of the meal and the result is Curtis finally letting it all out.
“There’s a storm coming! The likes of which you’ve NEVER seen! And NOT A ONE OF YOU IS PREPARED FOR IT!”
The look he gives his frightened daughter as he bursts into tears floored me. And don’t forget Jessica Chastain, selflessly and lovingly cradling his head in her hands as they both cry in front of the whole Lion’s Club. The best moment of the year for her, in my opinion.
The other scene is underground in the shelter when Samantha tries her best to get Curtis to open the door. She knows that if she opens the door, nothing for him will change. He has to do it himself. The look of paranoia and fear on his face is very real. I have seen that look before and I think I have an idea of how truly disturbed somebody must be to wear that expression. It made me really feel Curtis’ struggle.
What a god damned good movie. GOD DAMN YOU GUYS THAT MOVIE WAS GREAT. I was hoping for acting nods for Shannon and at the very least Chastain in supporting, and didn’t expect Nichols to get a nomination for best screenplay, but man, any of the three of those would have been nice.
As far as favorite moments in nominated films goes, Nick Nolte showing up at Joel Edgerton’s house in Warrior was a very sad moment for me. Frankly, I’ve never seen Nick Nolte like that before and I was surprised at the emotional reaction that scene got out of me.
One of the funniest moments of the year for me was in The Muppets when, at the end of the fundraiser, we all discover that there was something wrong with the display showing how much money had been donated. They think they’re a dollar away from reaching their goal of 10M when the screen flickers to show that they hadn’t even made 10k. I cracked up when Fozzy said, “We weren’t even close!”
Carey Mulligan sings New York, New York in Shame. Emotionally shattering.