For Original Score I'm very surprised Daniel Pemberton's "Steve Jobs" score didn't get recognition. Not unlike Reznor & Ross' work on Social Network, it ushers along so many pages of dialogue with ease. "The Skylab Plan" track alone should warrant it consideration. I can't think of a movie form last year more…

If it makes you feel better your support doesn't matter.

sounds like some coffee meets bagel to me.

Well I'm glad Immanuel Kant doesn't vote for the Oscars, then - it would be a weepy period drama every single time.

"…but to my stressed, temperamental mind Best Picture should be reserved for films that strive to be art, meaning it ought to be possessed of a profound awareness of what it means to be alive in our current reality, as is…"

That raises the stakes, though. If they didn't get married, and she ultimately stayed in Ireland, the story the movie told would've been her having an "I went to America, once…" anecdote for her children and grandchildren back on the island.

I don't know if it's been brought up in any thread, people seem to be asking for proposals of a better contemplative kind of western or whatever, and it's not a western but Ridley Scott's "The Duellists" is something I thought of when watching this. A gorgeous looking Napoleonic period piece, with debts likely to…

To The Wonder made more of an impact on me than The Revenant did, though. The characters in Malick's movies at least have the benefit of, if they're roughly drawn, the meandering narratives allow you to kind of impose on them motives and aspirations.

90 would be too short for this one, I agree. I think of something like "There Will Be Blood", for instance, where in a few minutes and a few carefully edited scenes we're shown the lengths to which Plainview is going to go for his fortune. Breaks Leg -> Shot of him painstakingly crawling, establishing this is how he…

Gravity had the good sense to come in at 90 minutes, though. It seems the temptation with The Revenant was that, since they were telling an "epic" story, and it is, the elements of the movie had to be accordingly massive: natural light cinematography, on-location shoots, and ultimately length of the picture.

Please explore Marty's pre-1990 output, it's incredible. And furthermore, if you enjoy any of that, please re-visit his 1990-onward works, as I think you'll start to appreciate the unavoidable evolution any artist conveys over such a long period of consistent creation.

I watched Margin Call a few months ago for the first time on Amazon Prime. It's great, and a pretty stunning debut for a writer/director, it's so sure of itself.

He's a presence every time he's on screen in Lawless. Not a great movie, but he's amassed quite a resume of roles like that so far.

It is pretty wild that a movie can have one actor who won the award, and two other roles for which people contend an actor absolutely should've won. Quite a Godfather situation with supporting actor in that one.

A Serious Man is definitely a gut punch, and for me Inside Llewyn Davis has so many brutal reveals but they're played so small (in a good way) it might be my personal favorite for emotional resonance.

The people I mentioned all got nominated. Leo winning doesn't make him a good actor, it just means he wins. A few years back Kate Winslet basically asked for an Oscar and got one…this is more of the same.

Bobby "Boris" Pickett - "The Monster Mash"

Got it. Thanks for the response. I imagine I'll be checking it our regardless.

Recommended, then, for someone who enjoyed 'Dogtooth'?

Of the two, I'd sooner rewatch Spotlight, since I think it has enough procedural elements that I could piece together a few scattered bits that I didn't get the first time but weren't really essential. Trumbo, I'd be much less inclined to watch again - Cranston was good if a bit hammy, and there were too many…