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About Christian

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  • Gender
  • Location
    Fairfax, VA
  • Interests
    Film, religion, jazz.

Previous Fields

  • Occupation
    Publications Manager
  • Favorite movies
    Dardennes brothers, Tarkovsky, Dreyer, Coens, De Palma, some Kubrick
  • Favorite music
    Hard-bop jazz.
  • Favorite creative writing
    Junot Diaz, Matt Labash, Marilynne Robinson

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  1. Ah, the ending! Yes, I suppose there's something to that for our list. OK, I second The Trip to Italy.
  2. My main concern about including Twin Peaks is the implied obligation, if it's nominated, to become a Showtime subscriber in order to access it. I'm sure the program will be worthwhile - I've been wanting to watch it for months - but I don't have Showtime, would have to sign up (maybe jam the entire series into a 7-Day trial, is that's still a current offering) or become a paid Showtime subscriber to watch the film within our screening/voting window. At least with the multi-hour O.J. documentary I was sent a screener and could work in the episodes where I could. Also: Is Showtime pushing this program for Oscar consideration the way ESPN pushed the O.J. documentary? I don't want to dampen others' enthusiasm for nominating the program, but I also don't want to hurt the film's chances if I'm unable to watch an entire TV series amid the many other features and documentaries that compete for my time during awards season - although skipping a nominee during voting doesn't actively hurt the film the way, say, a vote of "0" or "1" would (or whatever the low end of our scale is), right?
  3. !!! I loved this movie but hadn't even thought to consider it for this list. Persuade me? (I may have left this one off my running best-of list for the year. If so, gotta go in and fix that.)
  4. I'll nominate Mudbound, which I just saw last night. Like Lady Bird, I have some issues with the film, but here the faith elements are so strong and beautifully integrated into much of the story that I think it's an obvious candidate for our list. Oh, and since I may not have restated it this year and feel like I should: I confess that my tendency for nominating films to this list is to focus on films (not exclusively, but mostly) that explicitly reference faith or a life of devotion to God - or even when far from orthodox, at least acknowledge that this life might not be all there is (see Personal Shopper) or that show characters exhibiting Christian virtues such as forgiveness (The Glass Castle). I see many films each year that are excellent and that go high on my personal Top 20 lists that don't do those things, but I like this list because I can highlight particular films for those particular reasons. I know others don't use the same nominating criteria. We've hashed this out over the years and don't need to do so again. But I wanted to put this out there as we start in on this year's nominations.
  5. More! Though I have reservations about it, I think Lady Bird is worth nominating: Lady Bird If the name Saoirse Ronan isn’t familiar to you yet, it soon will be. In Greta Gerwig’s directorial debut, Ronan plays Christine, or “Lady Bird” as she prefers to be called—a Catholic high school senior desperate to flee her home state of California. Hoping to gain admittance to an East Coast college, she conspires with her father against the wishes of her mother to apply to out-of-state schools as she searches for an identity to embrace. There are pleasures along the way for viewers, but there are also familiar tropes: a gay character struggling with when to come out, and one horrible abortion joke that is so facile I was embarrassed for the audience members who laughed at it. But the ending of Lady Bird won me back to the film, suggesting that the few cheap barbs along the way may—may—be part of Christine’s journey to a more meaningful life. I'll also add two nominations from that running list that I can now access. The first falls into the "not well reviewed but suitable, I think, for this list" - I always nominate one or two such movies, although they rarely make the cut: The Glass Castle: Feels familiar at times in prompting a heroine to confront her parents' failings, but The Glass Castle also acknowledges an uncomfortable, unshakeable truth: even the most troubled parents "have their moments," and reconciliation brings closure and healing. A Ghost Story: More a story about grief than about the afterlife, and not orthodox in its view of what follows death. But while it goes in directions I didn't completely track (I need to see it again), the film has stayed with me, even - wait for it - haunted me since seeing it. I know others have (legitimate) issues with it. I was on the fence about bringing it up for the jury's consideratioin, but I've tipped into the "nominate it" camp.
  6. I second all of these, including mother! I don't second The Beguiled but only because I haven't yet seen it.
  7. Reasons for my nominations above (taken from capsule reviews I wrote of the films): Loveless The best film I saw at Middleburg, Andrey Zvyagintsev’s drama of marital dissolution and systemic corruption uses the story of a missing boy and his divorcing parents to demonstrate the different forms a lack of love takes. From its hard-to-shake reveal of a young boy overhearing his parents tear into each other to a conclusion that offers little comfort, Loveless is pointed about the things that nourish us and give us life (pregnancy is a major story element) and those that destroy it (abortion and suspected abduction). In a bleak, loveless world, a man described as a fundamentalist Christian seems close to joyful, relatively speaking, if only in a Ned Flanders sort of way. Zvagintsev may not see answers in faith—he’s more attuned to hypocrisies in that realm—but in diagnosing the fraying of family life and cultural norms, he’s made something simultaneously slow and gripping, driven by mysteries with no easy solutions. Novitiate A fine religious drama about a young woman’s search for spiritual significance, Novitiate stars Margaret Qualley (HBO’s The Leftovers) as Sister Cathleen, a postulant under the care of a Reverend Mother (Melissa Leo) who wrestles with how or whether to implement the changes resulting from Vatican II. “We were women in love,” Sister Cathleen says of the nuns’ devotion to Christ, but they struggle under the Reverend Mother’s rigorous forms of religious discipline. Qualley’s sensitive portrayal of Sister Cathleen and the honest way in which the nuns express concerns, even doubts, about the life they believe they’re called to provide a connection even for non-Catholics to appreciate the nuns’ struggles. This is honest, brave storytelling that doesn’t celebrate doubt but allows its characters to genuinely seek the truth. Hostiles In the late 1880s, under orders of the U.S. government, Army captain Joseph J. Blocker (Christian Bale) must escort the dying Cheyenne Chief Yellow Hawk (Wes Studi) and his family back to his home in Montana, where he can die in peace. Blocker has seen too much bloodshed at the hands of Native Americans to want the “honor” of such an assignment, but when his pension is threatened, Blocker reluctantly agrees to the journey. Dangers from hostile natives will draw Blocker and Yellow Hawk together as they take on a common adversary. The story is violent at times and not without some pacing problems, but director Scott Cooper has made a worthy addition to the canon of revisionist Westerns with Hostiles, which includes scenes of men reading Scripture, singing spirituals and sharing heartfelt expressions of faith.
  8. The timeline is fine. I keep a running list of films I've seen each year, but I keep it on my laptop and don't have access to it while I'm here at work. I keep forgetting to post it in an accessible place. So for now, I'll add a few nominees from memory. I will probably add more later, but if so, I'll create a new post so that the new nominees will be visible to those looking at new posts. If Joel prefers I update this post with additional nominees, I can do that, but then others have to actively be looking at this post, with no notification that it's been updated, right? That seems to disadvantage future nominees, but if that's the way we're supposed to supplement an initial batch of nominees, I'll abide by that. I nominate the following, all seen at festivals and not opening until late in the year (except for Novitiate, which opened in NY/LA this past weekend): Loveless (opens in December) Hostiles (opens in December) Novitiate I second: Personal Shopper (my #1 film of the year so far, so I hope it'll be deemed eligible for the 2017 Jury awards) The Florida Project Columbus The Son of Joseph
  9. 2017 Arts & Faith Ecumenical Jury

    Sorry if my earlier post gave the impression I might not participate. I plan to be part of the jury again, but at the rather minimal level of commitment (compared with other jury members who write summaries, etc.) I've taken on the past couple of years. I was just suggesting that my failure to do more than watch films and vote might be frowned upon, and if so, it would probably be best to know that now so as to not disappoint the other jury members when it comes time to write up the results.
  10. 2017 Arts & Faith Ecumenical Jury

    I am not an active poster here any longer and haven't been for some time, but I still read new posts every day and would count myself a "participant" in that sense. I haven't written anything for the jury since the first year I participated, which may have been the jury's inaugural year (I can't remember). I don't know if that's made me more of a burden than an asset to the jury, but skills aside (others are better writers than I am, and I figure we want the best public presentation of our list that we can get), I always agree to participate in a moment of pre-screener-season enthusiasm, only to find myself tapped out by the time we get to our vote. By then, as a voting member of a regional critics group, I've watched as many award-season releases as I can, either at the theater or on DVD/stream, and have read more year-end Best Films lists than I can count (and contributed my own, usually). The A&F jury comes at the tail end of that process, by which time I'm pretty weary of the awards conversation - but also eager to take part in highlighting certain films here that for certain reasons don't always apply to other lists. I do like that our list lands after all the other lists have landed. I just don't have much to give beyond seeing as many movies from the year that I can and being as informed a voter as I can be.
  11. 2017 Arts & Faith Ecumenical Jury

    Sure, let's do it.
  12. Camille Claudel 1915

    Popping in because I've been thinking of nominating this film for our "Waking Up" list, but dang it, I can't remember the specifics of the big turn this film takes about halfway through, and whether it constitutes "waking up" in any of the various senses given for other nominees on that list, or if it's simply explained as the introduction of a certain character who expresses particular beliefs we haven't seen expressed earlier, or at least not in the same way. Re-reading the posts here, I decided to post also to bump this thread and see if anyone else here ever caught up with the film.
  13. Title: Knight of Cups Director: Terrence MalickYear: 2016 Language: EnglishIMDB Link: http://www.imdb.com/title/tt2101383/?ref_=nv_sr_1YouTube Link (a clip of/trailer for the film): Link to the A&F thread on the film (if there is one):
  14. I appreciate you not wanting to bend the rules for any one film, but, unless I'm missing something, I don't see any groundswell saying we should move forward with a list without Silence being a factor. The wild card appears to be how many of us will be able to see it by the extended deadline (and will prioritize seeing it if given the chance). I'm confirmed now for the January 3 screening in my market, but I've already voted for the list and will have to read back over recent posts here to figure out how I'm going to be able to vote for / rate Silence. (By second-ballot request, I'm thinking.) Meanwhile, having already participated, I'm eager to see how the first-ballot vote on all the other nominees comes out.
  15. A D.C. screening was just announced today for January 3. I'm guessing I can make it, but I'm not sure. Even if I do, it bothers me that I'll have all of 48 hours, or whatever, to live with the film before our vote (assuming we delay it, which I'm open to but am not advocating), but that's always the case with one or two titles each year. (I've seen the Bayona.)