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Spirit Nominations
Call Me By Your Name leads with 6

"I think Good Time is going to do better this award season then people realize. It's slowly developing a cult following similar to Drive. " - Mike

"Really happy to see Harris Dickinson in male lead. That's a great category." - Joseph

Ugh Armie Hammer in Call Me By Your Name reeks of Rooney Mara in Carol all over again. LGBTQ film with two obvious co-leads where one is relegated to supporting and pushes out a fantastic, legit supporting player (Sarah Paulson/Michael Stuhlbarg)." - Aaron

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Entries in Lady Macbeth (4)

Wednesday
Nov012017

BIFA Nominations: Lady Macbeth and Three Billboards Boosts

by Nathaniel R

Film Stars Don't Die in Liverpool received 4 nominationsHot on the heels of the Gotham Awards, the British Independent Film Awards have announced their 2017 nominations. Though they don't tend to get much press in the US due to the the first two words in their title, they're worth noting. And, we'd argue, they're worth noting precisely for their limited jurisdiction. Awards groups with their own identity / purview are all too rare. Lady Macbeth led the field (15 nominations) with gay romantic drama God's Own Country (11 nominations), political satire The Death of Stalin (13 nominations), I Am Not a Witch (12 nominations) and one big tragicomedy Oscar hopeful Three Billboards Outside Ebbing Missouri (11 nominations) also super popular

I think the nomination I'm happiest to see (just because it was no sure thing) is Jamie Bell in Film Stars Don't Die in Liverpool for Best Actor. He's just brilliant in the film as I've mentioned before but it's the type of role -- nuanced / romantic / skewing "feminine" in its appeal -- for which male actors are rarely honored no matter how good they are. The complete list of nominees is after the jump...

Click to read more ...

Friday
Oct272017

"Lady Macbeth" and the Men Who Love Her  

By Spencer Coile 

Even at a quickly-paced 89 minutes, Lady Macbeth is unafraid to work slowly and dilligently. Based on Lady Macbeth of the Mtsensk District by Nikolai Reskov and directed by William Oldroyd, this is a meticulously made tale of sexual repression and desire. It follow Katherine (Florence Pugh), a young woman married off to a man twice her age. Caught in a loveless, sexless marriage, she plots a better life for herself and then ensures, by any means necessary, to achieve her goal. 

The film (out now on DVD) is a dizzying narrative of deceit and treachery. Despite taking place in a stuffy 19th century English household, its twisted web of sex, love, and murder smolders. I would be lying if I said I didn't find myself screaming "Ohmygod!" over and over again throughout the film. Lady Macbeth evolves into something far messier, more suspenseful, and ever more intriguing than what first meets the eye... 

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Sunday
Aug132017

Podcast: Detroit, Girls Trip, Atomic Blonde, Landline

Nathaniel and Nick discuss six new films. No spoilers.

Index (42 minutes)
00:01 Why you should see A Ghost Story & Lady Macbeth
04:00 Kathryn Bigelow stumbles with Detroit (what we hope she does next)
16:40 Atomic Blonde is a blast, a true feat of direction and Charlize Theron-ness
29:40 Girls Trip is crazy well-acted fun
37:00 Landline is a let-down
38:30 Recommendations from 1963 for the helluva it

You can listen to the podcast here at the bottom of the post or download from iTunesContinue the conversations in the comments, won't you? 

Atomic Blonde, Detroit, Girls Trip

Monday
Aug072017

Race in Lady Macbeth and The Beguiled: Not so black or white?

by Lynn Lee

Florence Pugh in Lady Macbeth / Nicole Kidman in The Beguiled

In a summer filled with movies by or starring women of exceptional talent, The Beguiled and Lady Macbeth make an especially fascinating cinematic pairing.  Both films center on mid-19th century women who appear trapped by their societies’ constricting gender norms.  In both, the women are confined to an isolated, often claustrophobic space, yet nature is a constantly beckoning presence that at once shapes and reflects their desires.  (Both even have plots that turn on poisonous wild mushrooms!)  And in both, the women up-end the patriarchal structure of their circumscribed universe without liberating themselves.  If anything, they reinforce that power structure even as they seize momentary control of it, leaving not a feeling of triumph but a somber queasiness.

For all these thematic similarities, the differences between the two films are even more striking...

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