Director: David Lowery, A Ghost Story (171/15)
Actress: Saoirse Ronan, Lady Bird (188/19)
Actor: Robert Pattinson, Good Time (221/18)
S. Actor: Ray Romano, The Big Sick (132/14)
S. Actress: Bria Vinaite, The Florida Project (144/13)
Screenplay: Greta Gerwig, Lady Bird (163/14)
Scene: "Bellbottoms," Baby Driver (106/9)
HISTORY:
First nod for Lowery (and this is the first of his films that I didn't W/O of!).
Ronan gets her fifth career nod, at the tender age of 23. She previously placed 7th in Supporting for Atonement (2007), 14th for The Lovely Bones (2009), 17th for Hanna (2011), and 8th for Brooklyn (2015). Pattinson's history was covered in #10—he's the only actor to place twice this year. Romano and Vinaite are new.
Gerwig's three Screenplay nods all made the top five; see the "nominees" post below.
11 comments:
Yay RPatz!
I'm a little surprised by the groundswell of support for A GHOST STORY. Should I have seen this coming?
I've been outspoken about it for ages, but I thought my vote was almost as quixotic as my support for GOD'S OWN COUNTRY. Glad to see I'm wrong.
I am not BB-8, though I am surprised Rian Johnson didn't get a look in.
Swami Muse had it has his #2 so that might've clued you in.
There was some late-breaking Ghost Story love from folks who didn't see it until it hit Blu-ray/Amazon Prime. Also true of Personal Shopper, at least in the sense that McCloud watched it the day of the deadline and then 30-bombed it into 5th place. (It would otherwise have finished 14th.)
So, for this round at least, the McCloud effect (Personal Shopper) wins out over the Del Angelo effect (mother!).
Guess I was part of the late-breaking Ghost Story deluge, along with Zach. Tbh, some of Lowery's showy moves didn't work for me (including the lauded pie-eating scene) and was meh on the ghost concept, but it was phenomenal as a elastic time reverie on place--a kind of Tree of Life depicting that plot of land where your house sits.
But Ryan, all that elastic time reverie stuff was pretty much relegated to the second half!
The only surprising thing is McCloud waited that long to see it.
Time stretching works better when there's also time compression. The reverie is more powerful because it pivots off of the Mara-Affleck story, however underbaked that story was as a stand-alone. Otherwise, it would be an avant-garde film unanchored to a narrative. That may well be great, but it probably wouldn't have been financed or distributed.
That Driving Baby scene is so fucking stupid.
Yeah I'm with Ryan on the time reverie pushing it over the edge (and it's true I didn't see it until mid January 2018), but I think the tone set by shot duration and composition in that first half is remarkable. Like the beats it sits on the still morning before panning right to follow the racing witness to the car crash. I've rarely felt so in tune recently with a director' sense of pace and focus -- definitely not since 20TH CENTURY WOMEN.
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