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Marriage Story from Noah Baumbach

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    Thatcher, Prime Minister of GoldDerby
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    #1203144246

    Darlings, this movie could win Best Picture easier than Best Actor. The Academy loves divorces. But I can’t see Nose winning against Joke. Not at all. Johansson has more chances than Nose has. Believe me. Always believe Thatcher.

    As a famous singer said, "ain't nobody gonna Thatcher, Thatcher, Thatcher!"

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    GregSprinkles
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    #1203144254

    Darlings, this movie could win Best Picture easier than Best Actor. The Academy loves divorces. But I can’t see Nose winning against Joke. Not at all. Johansson has more chances than Nose has. Believe me. Always believe Thatcher.

    Why should anyone believe you when all your argument boils down to is “believe me”?

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    Thatcher, Prime Minister of GoldDerby
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    #1203144260

    Why should anyone believe you when all your argument boils down to is “believe me”?

    As a famous singer said, "ain't nobody gonna Thatcher, Thatcher, Thatcher!"

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    babypook
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    #1203144264

    Why should anyone believe you when all your argument boils down to is “believe me”?

    Remember how, his obsession ended up under a pile of rocks? lol

    Do Androids Dream of Electric Sheep?
    Philip K Dick Blade Runner

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    David Buchanan
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    #1203144274

    For those of you who’ve seen it, how was Randy Newman’s score? He hasn’t been nominated for Score in almost 20 years, so I’m wondering if this will get him back in the race since the film’s in the conversation for BP.

    Formerly known as PianoMann.

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    atonement
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    #1203144293

    Dazzling and compelling film, and certainly one of Noah Baumbach’s best to date. You have a palpable sense throughout watching this that the material was personal to him and hit close to home. This feels like our generation’s answer to “Kramer vs. Kramer,” only with a colder, meaner streak at the core of it, which doesn’t make it any less hopeful by the ending. The revelation here is Adam Driver. I’ve tried to follow his career closely ever since “Girls,” and even I wasn’t prepared for this level of performance, or didn’t know he was capable of all of this? So nuanced, so piercing, so devastating. Phoenix has some competition now. The plot thickens…more later.

    exactly. The trailers show nothing compared to what Adam gives in Marriage Story. I’m trying to remember when was the last time a leading actor gave such an emotionally raw soul-baring performance. Just really amazing to witness an actor give that much of himself to an audience.

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    BigFish
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    #1203172135

    You know that Baumbach inspired by his own experience when there are some moments on this movie that makes me uncomfortable…it’s like I’m an uninvited guest that peeks into the couple’s private life which I have no business to listen to. As it told from director’s perspective, Driver was portrayed as more of protagonist as he progressed from naively thinking that everything would be alright and ended up hating the messiness of the divorce. Both leads are fantastic, Dern commands her scene, and I think Alan Alda should also be nominated for Supporting Actor.

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    Babygirl
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    #1203172160

    For those of you who’ve seen it, how was Randy Newman’s score? He hasn’t been nominated for Score in almost 20 years, so I’m wondering if this will get him back in the race since the film’s in the conversation for BP.

    I think he can get in tbh. Overall the score isn’t all in your face but there is a few scenes where it stands out. It’s pretty lovely imo.

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    LLLhawks
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    #1203172241

    Looking forward to catching this on Netflix but the title is really too silly for me. It harkens back to the 2000s when we got parody movies called Scary Movie, Disaster Movie, Epic Movie, Date Movie, etc.

    I just love movies. And awards.

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    babypook
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    #1203172525

    For those of you who’ve seen it, how was Randy Newman’s score? He hasn’t been nominated for Score in almost 20 years, so I’m wondering if this will get him back in the race since the film’s in the conversation for BP.

    It’s possible. I don’t think it matters how we feel about the score/ song as so many winners and nominees made my ears bleed.

    Do Androids Dream of Electric Sheep?
    Philip K Dick Blade Runner

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    Hammad Asif
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    #1203173102

    For those who have seen it.

    Has Driver topped his performance in “Paterson” in this which I believe is his career best performance without having seen Marriage Story.

    Kubrick-Tarkovsky-Scorsese-Bergman-Bresson-Kurosawa

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    Babygirl
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    #1203173114

    For those who have seen it. Has Driver topped his performance in “Paterson” in this which I believe is his career best performance without having seen Marriage Story.

    Yes, his performance in Marriage Story is his best imo. I agree that he was great in Paterson though.

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    thedemonhog
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    #1203173136

    If you find one person who prefers him in Paterson, I fear for that person’s sanity.

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    mf617
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    #1203173770

    I saw this today and really enjoyed it. Of Noah Baumbach’s films that I have seen, this one felt the most grounded, mature and naturalistic of them all. There are movie stars in front of your eyes, but it all feels very real, and Baumbach’s script is to thank for that. The script does a really good job of being delicate with the tonal shifts and providing enough narrative build up to make the payoff feel earned, while still providing the audience a chance to reflect and empathize with both characters. While the story is more often from Charlie’s POV, Baumbach does the work to make sure you understand why both Charlie and Nicole do not see a future for this marriage. But beyond that, it is the minor characters in this story that really fill in the details of what Charlie and Nicole cannot say, or rather do not want to say. The film is lived in but gripping, in that a simple conversation about the cost of divorce proceedings has you contemplating the emotional stress that has been weighed on the shoulders of these characters. Baumbach’s script is aided by two phenomenal performances from Adam Driver and Scarlett Johansson. Driver is always such a fascinating screen presence, and this is an amalgamation of everything I’ve seen him do before and then some. He has some moments in this movie that just knock the wind out of you. Similarly, Johansson is really impressive in maneuvering a character whose main drive is to take agency of her own life, and she does it in a way that never feels unsympathetic or contrived. Laura Dern is really great and she definitely gets some of the funnier moments of the script, but you can tell she’s inhabited this character in a way that doesn’t necessitate words or added screentime for you to understand exactly who she is. I was really happy to see Alan Alda on screen as probably the warmest presence of the film. Julie Hagerty was an absolute hoot and I wanted more of her and Merritt Wever. Their only major scene in the film is one of its best, in my opinion. I would not say the film is harrowing, necessarily, but it has no issues exposing the dark underbelly of the hardest parts of love and marriage and, ultimately, divorce. However, and I’ve heard this reflected elsewhere, it ultimately does leave you feeling hopeful about the prospect of love, which I found to be a very mature resolution to the film. The film is dramatically heavy but filled with light-hearted moments that should make it pretty rewatchable in the future, and I may find myself in that boat when it premieres on Netflix in a few weeks. On one final note, I saw the film at the Paris Theatre in NYC that Netflix reopened for this special engagement, and they were distributing marquee cards. I have just recently inherited my uncle’s collection of marquee cards from the 30s-60s, so being able to talk to him about that experience of going to the last single-screen theater in the city and adding a modern film to my collection of posters was really nice. If Netflix does purchase the Paris Theatre, I hope they’ll continue to find innovative treats for filmgoers to add to the special experience they’re creating.

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    babypook
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    #1203174085

    I saw this today and really enjoyed it. Of Noah Baumbach’s films that I have seen, this one felt the most grounded, mature and naturalistic of them all. There are movie stars in front of your eyes, but it all feels very real, and Baumbach’s script is to thank for that. The script does a really good job of being delicate with the tonal shifts and providing enough narrative build up to make the payoff feel earned, while still providing the audience a chance to reflect and empathize with both characters. While the story is more often from Charlie’s POV, Baumbach does the work to make sure you understand why both Charlie and Nicole do not see a future for this marriage. But beyond that, it is the minor characters in this story that really fill in the details of what Charlie and Nicole cannot say, or rather do not want to say. The film is lived in but gripping, in that a simple conversation about the cost of divorce proceedings has you contemplating the emotional stress that has been weighed on the shoulders of these characters. Baumbach’s script is aided by two phenomenal performances from Adam Driver and Scarlett Johansson. Driver is always such a fascinating screen presence, and this is an amalgamation of everything I’ve seen him do before and then some. He has some moments in this movie that just knock the wind out of you. Similarly, Johansson is really impressive in maneuvering a character whose main drive is to take agency of her own life, and she does it in a way that never feels unsympathetic or contrived. Laura Dern is really great and she definitely gets some of the funnier moments of the script, but you can tell she’s inhabited this character in a way that doesn’t necessitate words or added screentime for you to understand exactly who she is. I was really happy to see Alan Alda on screen as probably the warmest presence of the film. Julie Hagerty was an absolute hoot and I wanted more of her and Merritt Wever. Their only major scene in the film is one of its best, in my opinion. I would not say the film is harrowing, necessarily, but it has no issues exposing the dark underbelly of the hardest parts of love and marriage and, ultimately, divorce. However, and I’ve heard this reflected elsewhere, it ultimately does leave you feeling hopeful about the prospect of love, which I found to be a very mature resolution to the film. The film is dramatically heavy but filled with light-hearted moments that should make it pretty rewatchable in the future, and I may find myself in that boat when it premieres on Netflix in a few weeks. On one final note, I saw the film at the Paris Theatre in NYC that Netflix reopened for this special engagement, and they were distributing marquee cards. I have just recently inherited my uncle’s collection of marquee cards from the 30s-60s, so being able to talk to him about that experience of going to the last single-screen theater in the city and adding a modern film to my collection of posters was really nice. If Netflix does purchase the Paris Theatre, I hope they’ll continue to find innovative treats for filmgoers to add to the special experience they’re creating.

    Many of the points you make are why I’m reluctant to take him out of a BD nod. I think that screenplay takes the Oscar, despite fierce and worthy competition from others, like Parasite. I’m not excluding OUTIH either.

    Do Androids Dream of Electric Sheep?
    Philip K Dick Blade Runner

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