I will not overlook the exclusion of Vince Staples because everything that man makes is amazing. Saw him and James Blake live and it was an incredible show. I guess I can understand why the EP wasn't clicking for everyone…but "Loco", man.

I really like "Older and Taller" as well.

Glad Nick Cave was at least mentioned in a blurb, I suppose? But "Skeleton Tree" was phenomenal.

I do think Moonlight's screenplay (as well as Manchester's, for that matter) is much stronger than La La Land's, and I think Jenkins got better performances out of his cast than Chazelle did. That being said, hard not to be happy for Chazelle and co, and La La Land deserves all those technical awards for sure. Both…

I vote Isabelle Huppert.

All I have to say is it was dumb.

Can we also talk about the fact that Ryan Reynolds got a special award? That montage of his film roles was funnier than Deadpool. The strings coming in over his teary eyed characters as they tried to pass him off as some deep, wonderful actor. Give me a fucking break.

Well I do not like the fact that Deadpool won (especially over some legitimately great films), but I will wash that displeasure away with the Bojack Horseman win.

Several other standout scenes for me from Manchester:

The runway scene was brilliant, as was the final sequence. I think the ending was my favorite just because of how fucking ridiculous it got.

Oh yes, that prom fantasy sequence. Just plain infectious fun, and an extremely catchy song.

I don't think the characters or story work as well as they need to in order for Chazelle to create a cohesive whole, but I absolutely love most of the film's sequences in and of themselves. The "City of Stars" boardwalk scene, the Griffith Park tap dance, the Griffith Observatory space scene, the audition, the…

The fact that two people remembered The Bastard Executioner is already a great accomplishment.

I respect Kurt Sutter so much as an artistic talent. Truly the premier creative mind of his generation, and a wonderful person as well. I wish this all the success of The Bastard Executioner.

Let it be known that I'm participating in the backlash before it's cool.

That means I'm important so sure i'll take that.

Yeah that's what I meant with my "that was the point" comment. It's a fair defense, but I just don't think it worked. There's also the fact that the narrative incoherence involves the attempted juggling of various timelines/extraneous plot points and not just the specific days after the assassination. You can be…

I was not a fan of this one. Portman's good (Isabelle Huppert though…), the score in and of itself is haunting and well made, and there are some interesting themes raised about public vs. private. However, there's a point where the desire to create a disorienting mood crosses over into narrative incoherence, and this…

So: Knight of Cups, Green Room, Manchester By The Sea, Paterson, and…?

I loved Manchester, but my film of the year might still be Green Room. I don't really think anything can knock it off—not even Silence—now that La La Land and Manchester were unable to. Interesting that two years in a row my favorite movie of the year will be an April release (Ex Machina in 2015).