Yeah, this show would be better if it was focused on pretty much anyone else. I genuinely missed Ray Romano here, and I never thought I would say that.

True, although curiously "serious" actors don't seem to have that much of a problem- Nicholson, Arkin, Kline, Jennifer Lawrence, etc.

Yeah, and also something really interesting is that Sutherland really acted like someone that had to deal with all the ridiculousness and absurd things that happened to the character, and felt the toll.

Yeah, true. But that might help explain why Stallone lost, not why Rylance won. After all, the other 3 guys are more famous, campaigned more and were on films that were more popular inside the Academy.

"I feel like Mark Rylance won because action heroes and comedians
typically don't win the Oscar even if they're the front-runners. (See
also: Eddie Murphy, Mickey Rourke)"

Great stuff. Not only he didn't do any campaign, but his performance is the less "Oscar-y" of all the nominees: there aren't big speeches, tearful scenes, and a plot point is that his character never shows any desperation or loses his cool because, as he asks, "would it help?". It's just a great actor doing solid and…

Nope, Crash won when the old system was in charge (just vote on the winner). It is The Revenant of that scenario, since it would never have won with preferential voting.

Not really, or at least not entirely. This was more of a Jeff Bridges in A Crazy Heart or Di Caprio in The Revenant in which the great performance remembers people that "Hey, this guy hasn't won yet!" than something quite shamelessly "let's just give him one already" like John Wayne for True Grit or Pacino for Scent…

True. Which is also what happened to Penn in Mystic River. Both movies are very sober but one big moment makes people think the actors are overacting simply because it stands out more than it would in something like, say, Scarface.

No, I disagree with you (and the reviewer) that is Miss Kelly who "makes the
choice" for Eilis: up until that moment, she's there mostly as a
tourist, seeing the scenery, meeting the nice people, going to beaches,
etc, but Ms. Kelly is basically a reminder of what was like actually
living there, all the small town…

Lessons I learned from this review:

Sure The Revenant was really hard to make…if you were a crew member that was bullied by Iñarritu for 9 months and now have to watch him give smug winning speeches.

Julie Silver reminded me of Stephen in Django, sucking up to the master quite shamelessly and without any dignity. Of course, what made that character work was that he had a lot more hidden depths, which doesn't seem to be the case here.

THIS ARTICLE makes the criticism: "Somewhere inside of its massive 156-minute frame there’s a leaner, less pretentious Western,".

The worst part is that you just KNOW that the real reason they're sending Patty away is that they can go back to the Barry/Iris non-sense, ugh.

Sorry, but the last scene from Ordet isn't "powerfully miraculous"- it's just weird, creepy and scary as fuck. That scene was scarier than The Shining and Polanski's entire career combined, and didn't even seem to be intentional.

Actually, more like an Oscar for not throwing a telephone in someone's head.

HURRAY, COCKSUCKERS!

Now YOU are the one being unfair.

Ha, I was thinking the other day that the Scott Adams that started writing Dilbert would probably find current Scott Adams ridiculous. Getting rich and old is something else indeed…