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Trial of the Chicago 7 Thread

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    Kelvin
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    #1203783182

    a chore to sit through. a career low for sorkin methinks.

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    Zooey the Dreamer
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    #1203783224

    Redmayne was the weak link for me. He just felt off.

    In my view, Sacha Baron Cohen is the standout. I can’t see a Langella nod at this point. The character is so vile that I can’t bring myself to vote for him.

    Rylance is fine but feels too shallow as a character and there’s nothing personal there. Strong is fun. Yahya is terrific in his brief monologue but he’s a little bit more than a cameo.

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    Hoster1
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    #1203783243

    Also I forgot to write this, but this ending omg.
    This was fands down the funniest thing I saw in a movie this year.

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    Bassett
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    Dec 21st, 2016
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    #1203783247

    Rylance won. Yahya was good too, contrary to what I thought after watching the trailer

    FYC :

    Best Actress - Viola Davis
    Best Actor - Delroy Lindo, Chadwick Boseman
    Best Supp Actor - Daniel Kaluuya, Yahya Abdul-Mateen II

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    Bassett
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    #1203783264

    Also I forgot to write this, but this ending omg. This was fands down the funniest thing I saw in a movie this year.

    That melodramatic music… chile

    FYC :

    Best Actress - Viola Davis
    Best Actor - Delroy Lindo, Chadwick Boseman
    Best Supp Actor - Daniel Kaluuya, Yahya Abdul-Mateen II

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    Mason
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    Dec 25th, 2017
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    #1203783275

    Honestly, I don’t think come February/March anyone will give a shit about this movie. Could get a couple of noms but definetly not coming close BP win and I’m pretty sure now that Sorkin is just not happening for this.

    Not sure that in the midst of police brutality and protesting across the globe a movie about police brutality and protests in the streets will not resonate and the awards will just ignore it or forget about it.

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    mf617
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    Oct 17th, 2011
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    #1203783357

    Let me start by saying that the general negativity on this board isn’t shocking, but continues to be dismaying. Every year, more voices are added to this forum that drown out positive, constructive criticism and conversation about the awards race and the contenders in favor of troll language, popularizing hating something based only on reputation, and general negativity toward every film that is deemed a contender. It quite frankly has sucked the fun out of following the awards race and being a member of this website.

    Now, all of that being said, it probably sounds as if I’m lined up to give this film some glowing, gushing review and say that any criticism of its faults is unjust and incorrect. That’s not the case. I did really enjoy this movie, and there are certainly elements that have been rightly pointed out as falling flat or being disappointing, but I wouldn’t call any part of this film outright “bad.” It is a very good film, with some elements picking it up another level, and given the competition this year and the film’s central themes and relevancy to our current political and socioeconomic climate, there is no denying that this film will be relevant and remain in the awards race for the next few months.

    I found, unsurprisingly, Aaron Sorkin’s screenplay to be much stronger than his direction. I would not say really that he even elevated himself over his directorial work from his debut in “Molly’s Game,” though they were both equally on the same level. What made this film feel different, of course, is that the plot is much more traditionally cinematic than his previous film, and thus carries a bit more emotional heft and narrative weight that a traditional audience can pick out. Sorkin’s direction is not bad, but it is perfectly serviceable. I think the film may have benefitted from a more visually attuned director, but it doesn’t suffer from Sorkin’s merely good direction. His screenplay has all the hallmarks of a Sorkin work, so if you love that, you’ll love it and if you hate that, you’ll hate it. You probably knew that going into the movie. I am a big Sorkin fan, so the screenplay undoubtedly worked for me, and I thought his narrative structure of working the riots into the trial had a better impact than making this a simple beginning-to-end narrative.

    The editing also does a good job of keeping those multiple timelines in check and keeps the moving zipping right along. This is a two-hour Netflix film that most people will watch at home. I didn’t find myself picking up the phone or wondering how much time was left because I was engaged throughout. If there is one technical aspect of the film I didn’t like, it was the score. The music itself was not so bad, but its usage in the film made the proceedings much more overwrought than needed. There has already been a lot said about the ending, and I agree with some of those criticisms, and I think the swelling music really didn’t help the cause. I like Daniel Pemberton (his “Spider-Verse” score was my personal winner last year), but something did not click here.

    Finally, the main reason for the chatter we’ll be having about this film: the performances. I came into this film having read a breadth of reactions/reviews and hearing about campaign possibilities for awards and whatnot. In reading reactions on here, it is clear that people’s personal preferences and tastes are not aligned at all. In the long run, I do wonder if that ends up hurting the film. It certainly makes predicting which performance(s) crack the awards race more interesting. I can only speak for myself. IF, and it is a big IF, they have to campaign an actor in lead, I believe it is Eddie Redmayne. While this feels as close to a true ensemble effort as you can get, you can make the argument for Redmayne: he opens the film, he closes the film, he is the center of its climax. He gets the most complete arc and (I can’t officially say, but it feels as if he) has the most screentime outside of group scenes. I know Sacha Baron Cohen has been pegged as a possible Lead contender alongside Redmayne, but his role is not quite as substantial, kind of to my surprise. The rest of the ensemble is undoubtedly supporting, and only Redmayne and Baron Cohen could reasonably be seen as lead contenders.

    But let’s discuss performance quality. Overall, the ensemble is so strong from head to toe and they’ll likely be one of the best of the year. In many ways, while it is definitely an ensemble effort, there are tiers to the performances in terms of presence and impact. If your two hypothetical leads are Redmayne and Baron Cohen, I would say that Baron Cohen gives a very entertaining performance, but he did not do anything that I necessarily thought he couldn’t do. I myself have tried to argue that he can ride the “comedian going serious” route to awards success, but he never really goes fully serious. He spends most of the time being the wiseass leader who gets a few moments of introspection. Redmayne delivers a very good performance and, maybe because of what he’s done with his career since his Oscar win, I was kind of surprised by how much I liked him. I thought he was confident and played some of the screenplay’s smartest moments very well.

    The next tier in terms of presence and screen time would probably be Joseph Gordon-Levitt, Jeremy Strong, Frank Langella and Mark Rylance. It was nice to see Gordon-Levitt on screen again and I thought he did a good job with a pretty straightforward role. He didn’t get a standout moment, but he held his ground well enough among performers that were giving a little more every time they were on screen. Specifically, I’d see the three actors you could classify as “going for it” the most throughout the film were Strong, Langella and Rylance. I thought Strong was great, though I’m a huge fan in general, and his comic relief moments were some of my favorite bits of the film. Langella plays a very conventional — almost to the point of unbelievability — villain, but he does it so well. You’re seething every time his character speaks and obstructs justice in his own courtroom. Rylance perhaps gives the most well-rounded performance of the ensemble, balancing his quieter moments with outbursts and fireworks you expect to see in a Sorkin work. His might be the performance that sticks with me longest after I’ve digested this film.

    The final tier of presence belongs to two roles that were quite small, but somehow made perhaps the greatest impact of the film: Yahya Abdul-Mateen II and Michael Keaton. I was really feeling Abdul-Mateen II’s energy to second he came on screen, and while fitting Bobby Seale into this story certainly was not flawlessly done and, by nature of the reality of this trial, abruptly cut off, his performance was commanding and electric. Similarly, I was shocked that Michael Keaton came into this film on maybe even a whole different wavelength than the obvious fireworks coming from nearly every other member of this ensemble and damn near stealing the film. I thought his performance was confident and assured, and while he was barely on screen, he felt pivotal to the film’s success.

    Awards-wise, like I said earlier, the film has a clear narrative and position to take in the awards race and I don’t doubt it will make an impact. I currently have it as my predicted Best Picture winner. It could certainly happen, but I’m less sure about that now. I have Sorkin predicted for directing. I feel confident there will be at least five more worthy nominees, but he could get in strictly by virtue of his film being a top contender. He could just as easily get snubbed like a Martin McDonagh or Peter Farrelly. I have Baron Cohen in lead and Strong and Rylance in supporting. Strong isn’t happening. Baron Cohen can happen in supporting, but it becomes a much more difficult path to the nomination in lead, I think. As I said before, I think Redmayne could be the true lead of the film, if they want to campaign someone there. Ultimately, I don’t think it matters because there isn’t a performance in this film strong or substantial enough to be considered against other tried and true, full fledged lead actor performances. That being said, I can see this film getting two supporting actor nominations. If Baron Cohen goes supporting, I would feel confident in saying him and Rylance. If Baron Cohen goes lead, Rylance and Langella seems likely. Rylance and Langella could happen even if Baron Cohen is in supporting. There are a lot of options on the table, and I think we might just have to wait and see who early groups go for and where a narrative starts to gel. The easiest nomination for the film is Sorkin in screenplay, and right now, I’ll say he can contend for the win. Everyone’s most liked aspect of the film, regardless on where you land overall, will probably be the screenplay.

    Overall, I liked the film, and I knew I would, but there were definitely some weak elements that held it back altogether. This film sort of confirmed my suspicions that Sorkin is a screenwriter best served by another director helping bring his vision to the screen, but as after every Sorkin work, I’m looking forward to what he does next and I’m fascinated to see how the acting awards race shakes out for this film.

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    gorman
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    #1203783366

    Just seen this. Mixed but generally positive feelings towards it – aside from the ending, which I agree with others was terrible. I’d be baffled and shocked if this won Picture, and don’t see it being a major player in a lot of races – Screenplay the only I’d give it a shot to win. Quite a few noms though, probably.

    Right now I’d predict it for the solid BP also-ran selection of – Picture, Actor (Baron Cohen), Original Screenplay and Editing. It has the potential to score a lot more – Hair & Makeup, Costumes, Director and one or two Supp. Actors come to mind. Supp. Actors wise I can see them cancelling each other out though – I think Rylance has the strongest shot there.

    I’m definitely less taken by its Oscars chances after seeing it, but it’s so timely and solid that I’m sure it’ll feature heavily still.

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    Chloe Sevigny stan <3
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    #1203783384

    Just watched this and while I honestly enjoyed it and found it a lot better than typical Sorkin projects, I really hope this isn’t a front runner for best picture because it definitely wasn’t THAT good. Also, except for Rylance, I felt a little underwhelmed by the performances which I certainly expected more of.

    FYC:

    Best Actress: Viola Davis (Ma Rainey’s Black Bottom)
    Best Actor: Anthony Hopkins (The Father)
    Best Supporting Actress: Ellen Burstyn (Pieces of a Woman)
    Best Supporting Actor: Leslie Odom Jr. (One Night in Miami)

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    Derp Boy
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    Feb 1st, 2017
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    #1203783419

    This is not related to the film, but this is my most viewed forum. I’m honestly really happy about this. I thought this forum would never get this amount of attention, so I like to say thank you

    "We will always have Paris"

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    William Gillquist
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    #1203783445

    So I have just seen the film and here is my review:

    Before watching the film, I checked this forum and other sites elsewhere to see what audiences of the film thought. And from what I’ve seen, people are pretty split. So no matter what my opinion of the film is, it’s not really going to be the popular opinion. But overall, I would say I enjoyed this film. Is it perfect? No, but was it a bad film? Also No. Definitely the film’s strongest element was it’s screenplay. Obviously Sorkin has proven time and time again his exceptional writing abilities, especially when it comes to courtroom dramas, and here it is no exception. And in terms of his directing, I would say he has definitely improved since Molly’s Game. Both the scenes in the court and the scenes of the riots are both exceptional shot, acted, and especially edited, making for a far more engaging watch then Molly’s Game. I wouldn’t even be shocked if Sorkin earned a directing nomination for this film. In terms of acting, nobody gave a bad performance in this film, though some would probably disagree. All of the actors worked great off one and other, and everyone put effort into their respective performances. This cast is definitely winning the SAG Ensemble Award this year. I would say the standouts of the film were Mark Rylance, Yahya Abdul-Mateen, Sacha Baron Cohen, and Frank Langella. All four I can see getting nominated, though if only one could be nominated, I would say Rylance. Though the film does definitely have some weak elements. It’s weakest I would say is Daniel Pemberton’s score, which is just distracting. Especially in scenes like the riots, which are already well made scenes, the music is just overbearing and mostly takes away from the drama of the scenes. And yes, I too agree, the ending is just awful. It’s like the ending from Dead Poets Society except far more sappy and much harder to take seriously. As to the film’s chances in best picture, I would say it is locked for a nomination. And even though it is an unpopular opinion both in statistics and wishes, I can see the film winning best picture given our current political climate, especially in the last year. Overall I give the film a rating of 4 out of 5. A definite watch if you have the time.

    FYC Oscars: Chloe Zhao (Nomadland), Delroy Lindo (Da 5 Bloods), Mark Rylance (Trial of the Chicago 7), Viola Davis and Chadwick Boseman (Ma Rainey's Black Bottom), Soul (Best Picture, Best Animated Feature Film, and Best Original Screenplay)

    FYC Golden Globes (TV): Ted Lasso (Best Comedy Series), Jason Sudekis (Best Actor in a Comedy Series), Hannah Waddingham (Best Supporting Actress), The Boys (Best Drama Series), Anthony Starr (Best Actor in a Drama Series)

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    Kelvin
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    #1203783468

    This is not related to the film, but this is my most viewed forum. I’m honestly really happy about this. I thought this forum would never get this amount of attention, so I like to say thank you

    youre welcome 🙂

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    Jessie2044
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    #1203783514

    The screenplay is definitely a lock. I would also argue for editing as well. Personally I think Mark Rylance, Yahya Abdul-Mateen II, and Sacha Baron Cohen were the standouts of this film though I do think everyone else was great too.

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    ReginaIsKing
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    #1203783521

    Let me start by saying that the general negativity on this board isn’t shocking, but continues to be dismaying. Every year, more voices are added to this forum that drown out positive, constructive criticism and conversation about the awards race and the contenders in favor of troll language, popularizing hating something based only on reputation, and general negativity toward every film that is deemed a contender. It quite frankly has sucked the fun out of following the awards race and being a member of this website. 

    The random essay and meltdown because people have an opinion different than your’s and call a film that they find bad bad. The only thing negative is the quality of the film. Chile…

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    Dan Backslide
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    Apr 24th, 2016
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    #1203783578

    I’ll probably add more details later, but I definitely disagree with the response on here. I loved this. Whole cast was excellent, with Baron Cohen, Rylance, and Langella stealing the show.

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