Nick's Flick Picks: The Blog
A film blog under the influence
Labels: African Cinema, Awards 2007, Awards 2008, Canada, China, France, Germany, International, Romania, Russia/USSR, Southeast Asia
posted by NicksFlickPicks at 11:00 AM
Links
Dave said...
Reading these awards is like living three years at once.
I have to drop a (very, very late) note to say thanks for your championing of Lady Chatterley; I would never have seen it otherwise, and I was particularly entranced by Marina Hands. (Also 12:08 East of Bucharest.) It's easy for these kind of films to fall under the (or my) radar so I'd be lovely if you kept plugging away with that.
Although by the same count I've always been baffled by your love of Yella. It was so maddeningly inconsistent and I was slightly fascinated by the contrast between the mundane and the bizarre (particularly the rushes of sound), but I found it so overridingly cold and clinical. (I am saying this a year on though, so take that with a pinch of salt.)
Brooke Cloudbuster said...
A yay for a Yella nod. A massive yay for a Lust, Caution nod; the second best of Lee's films (Crouching Tiger Hidden Dragon takes the cake) and my favourite movie of last year.
My 2008 picks are yet to be solidified since I haven't seen so many contenders, but three Asian pictures rank high on my Foreign Language ballot; Secret Sunshine (Lee Chang-dong), The Home Song Stories (Tony Ayres) and 881 (Royston Tan). If you get a chance to see any of these films, especially the first, I highly recommend them.
NATHANIEL R said...
so glad to be reminded of our mutual admiration for Lust, Caution which like all of my underappreciated pets I assume I am (we are in this case) 100% right about and everyone else will have to come around in about 10 years.
Glenn said...
I'm a bit upset to see Still Life relegated to the also rans. Especially since the film hasn't seen any sort of release down here outside of a festival or two and so I can't put it in my own awards (but the love for Up the Yangtze continues to fill me with giddiness - people will hopefully discover that movie eventually.)
Colin said...
Hey Nick,
I've presently posted my gushing review of Kung Fu Panda at my new Movie Epiphanies. You're a busy man, I know, but I'd greatly appreciate it if you could take some time to pop over and have a look.
Sincerely,
Colin
 |
|
|---|---|
|
MY PROFILE THE LATEST THE BEST THE FAVORITES THE WOMEN THE REST |
|
|
| The Movies of 2012: |
136 | |
| Amour | A | |
| Anna Karenina | C | |
| Argo | C+ | |
| Barbara | B | |
| The Central Park Five | B | |
| Detropia | B | |
| Django Unchained | C | |
| End of Watch | B– | |
| Flight | B– | |
| Girl Walk // All Day | B | |
| The Guilt Trip | C | |
| Hitchcock | D | |
| The Hobbit: An Unexpected Journey | C– | |
| Holy Motors | A– | |
| How to Survive a Plague | A– | |
| Hyde Park on Hudson | F | |
| The Impossible | C+ | |
| Life of Pi | B+ | |
| Lincoln | B+ | |
| The Loneliest Planet | B | |
| The Master | B | |
| Middle of Nowhere | B+ | |
| Les Misérables | D– | |
| On the Road | C+ | |
| The Perks of Being a Wallflower | B+ | |
| Rust and Bone | B– | |
| The Sessions | C+ | |
| Silver Linings Playbook | C+ | |
| Sister | B+ | |
| Skyfall | C+ | |
| Starlet | A– | |
| This Is 40 | D+ | |
| Zero Dark Thirty | B | |
| Coming Attractions: | ETA | |
| Any Day Now | Landed | |
| Promised Land | Landed | |
| Feature Films: | 19 | |
| Antiviral | B+ | |
| The Bella Vista | A– | |
| Beyond the Hills | B– | |
| Clip | B– | |
| The Final Member | B | |
| Hemel | C– | |
| Holy Motors | A– | |
| Keep the Lights On | B | |
| Like Someone in Love | B+ | |
| Mekong Hotel | B | |
| Once Upon a Time Was I, Verônica | B– | |
| Out in the Dark | C | |
| Paradise: Love | B+ | |
| Reality | B– | |
| The Repentant | B– | |
| Room 237 | D+ | |
| The Three Disappearances of Soad Hosni | B | |
| War Witch | B+ | |
| Westerland | C– | |
Chicagoans! This site doesn't even accept advertising, but I'm making an unsolicited exception for the best, freshest, most affordable meal you can enjoy in the Loop, at any time of the day, whether you're on the go or eager to sit. Cuban and Latin American sandwiches, coffees, pastries, salads, shakes, and other treats. Hand-picked, natural, and slow-cooked ingredients. My friendly neighborhood place, a jewel in my life even before the Reader and Time Out figured it out. Visit!
| B+ | |
| D | |
| B | |
| C+ |
Watch this space! Chicago has a new, exciting, important, and totally accessible cadre of queer film critics who are joining forces to bring screenings, special events, and good, queer-focused movie chats to our fair city. Read our mission! Stay tuned for events! Cruise the website, and help get this great new group off the ground by enrolling as a friend (it's free!) and by asking how you can help.
Fifty Key American Films ($27/pbk), new from Routledge,
edited by Sabine Haenni and John White.
Includes my essays on
The Wild Party,
The Incredibles, and
Brokeback Mountain. Intended as both a newcomer's guide to the terrain
and a series of short, exploratory essays about such influential works as The Birth of a Nation, His Girl Friday, Sweet Sweetback's Baadasssss Song,
Taxi Driver, Blade Runner, Daughters of the Dust, and Se7en.
The Cinema of Todd Haynes: All That Heaven
Allows ($25/pbk), new from Wallflower Press, and distributed in the USA by Columbia University Press. Includes the essay
"'The Invention of a People': Velvet Goldmine and the Unburying of Queer Desire" by Nick Davis.
More, too, on Poison, Safe, Far From Heaven, and all the rest of Haynes' films by Alexandra Juhasz, Marcia Landy,
Todd McGowan, James Morrison (ed.), Anat Pick, and other scholars. "A collection as intellectually and emotionally
generous as Haynes' films" —Patricia White, Swarthmore College
Film Studies:
The Basics ($14/pbk), new from Routledge. Award-winning
film scholar and teacher Amy Villarejo finally gives us the quick, smart, reader-friendly guide to film vocabulary that every
teacher, student, and movie enthusiast has been waiting for, as well as a one-stop primer in the past, present, and future of film production, exhibition,
circulation, and theory. Great glossary, wide-ranging examples, and utterly unpretentious prose that is nonetheless rigorous in its analysis;
the book commits itself at every turn to the artistry, politics, and accessibility of cinema.
| ARCHIVES | ||||||
|---|---|---|---|---|---|---|
| 05 | Jan | Feb | Mar | Apr | May | Jun |
| Jul | Aug | Sep | Oct | Nov | Dec | |
| 06 | Jan | Feb | Mar | Apr | May | Jun |
| Jul | Aug | Sep | Oct | Nov | Dec | |
| 07 | Jan | Feb | Mar | Apr | May | Jun |
| Jul | Aug | Sep | Oct | Nov | Dec | |
| 08 | Jan | Feb | Mar | Apr | May | Jun |
| Jul | Aug | Sep | Oct | Nov | Dec | |
| 09 | Jan | Feb | Mar | Apr | May | Jun |
| Jul | Aug | Sep | Oct | Nov | Dec | |
| 10 | Jan | Feb | Mar | Apr | May | Jun |
| Jul | Aug | Sep | Oct | Nov | Dec | |
| 11 | Jan | Feb | Mar | Apr | May | Jun |
| Jul | Aug | Sep | Oct | Nov | Dec | |
| 12 | Jan | Feb | Mar | Apr | May | Jun |
| Jul | Aug | Sep | Oct | Nov | Dec | |
| 13 | Jan | |||||
| Jul | ||||||
|
|
|
|
|
|
|
since 5.27.05 |
