MCN Blogs
David Poland

By David Poland

BYOB: Globes


15 Responses to “BYOB: Globes”

  1. Hcat says:

    Sad to see the Florida Project not get a nom in one of the best picture categories after all the love critics associations have been giving it. It seems to have played out in theaters, a Globes nom might have boosted it a bit and kept the admissions up until the Oscar nominations but I don’t see how they are holding on until then.

  2. YancySkancy says:

    The Big Sick shut out. No Gerwig or Peele for Director. No Ivory for script. I guess those are the biggies.

    Has the HFPA actually seen the final cut of All the Money in the World? Does it even exist yet?

  3. Triple Option says:

    YancySkancy wrote: No Ivory for script.”
    What script are you referring to?

    * * * * *

    I saw for the first time, as an adult, cover to cover, w/out commercial interruption, “The Searchers” over the weekend. Not getting how this is supposedly the greatest western of all time??

  4. Hcat says:


    Totally with you on Searchers, a decent to strong western but I would not put it anywhere near the top of the list. For me, Wayne’s masterpiece was The Man Who Shot Liberty Valance with Red River, Stagecoach and even True Grit and Horse Soldiers coming in above Searchers.

    And I believe James Ivory is credited with Call Me By Your Name.

  5. MarkVH says:

    Weirdly, I consider The Searchers to be not just the greatest Western of all-time, but the greatest American movie. So, y’know, subjectivity, I guess.

  6. leahnz says:

    Treason’s Greetings & Happy Coup Year!

  7. Kat. says:

    The Searchers is touted more as a self-aware reflection on Ford/Wayne’s previous collaborations.

  8. YancySkancy says:

    “The greatest Western of all time” is not a thing that exists outside of one’s own head. The Searchers, a great film IMO, might win a poll of that title, but you don’t need a majority to win a poll — just more votes than any other film. For example, some people get bent out of shape about Citizen Kane topping the Sight and Sound poll for so many years, but most of those years it only had to appear on fewer than 50 voter lists to claim that spot. In the last poll, when Vertigo passed it up, over 800 critics participated. Vertigo got 191 mentions to Kane’s 157. We can’t even know if those who voted would have put either title at the top of their lists, because ranking doesn’t figure into the vote tallying. So take these things with a big grain of salt.

  9. Hcat says:

    Agreed, ranking things is always subjective but I think TO simply meant that he saw a film that is very highly regarded and couldn’t see what differentiated it from other movies in the genre (at least I know that is how I feel about it). He wasn’t talking about it being too high on the list but rather whether it should been on the list at all. We have all been on both sides of this argument, you mentioned Vertigo and it has never done much for me but I love the passion when people defend it, and there have been plenty of times I have gone to bat for How Green is My Valley when others have called it overrated.

    I am just thankful there is a place where I can go and people have actually SEEN The Searchers or Vertigo. You know the looks I get at work when I recommend The Best Years of Our Lives to people?

  10. Triple Option says:

    Yes, Hcat, that’s it. There are plenty of films that didn’t really do much for me or I enjoyed but didn’t have a religious experience watching but then could see why others would hold them in rare esteem. If Man Who Shot Liberty Valance, High Noon, Once Upon a Time in the West, Shane or The Good, The Bad and The Ugly were to show up being a list topper, it’s not so much that because I enjoyed them that I wouldn’t bat an eye over who’s first, it’s that I could see why a case could be made for whatever one was placed #1.

    But it’s not just a single list from AFI or Entertainment Weekly that has Searchers first, it is, as MarkVH stated upthread, regarded as one of the preeminent works of all cinema of all-time. I knew of its stature for decades, even before I developed more than a passing interest in film. Was it better because it was first? Do the characters embody a prevailing spirit or pov of Americana? Is there some emotion connection to loss that resonates w/viewers? Is it the satisfaction of perseverance played out? I was left scratching my head over it. I would love for anyone to explain what makes The Searchers really stand out.

  11. Glamourboy says:

    I am hoping to hear JS’s review of The Searchers. Hopefully he has never seen it so he can give an accurate review. It’s inference. It’s a thing, ya know.

  12. Hcat says:

    I’ve always attributed my attitude toward Searchers to the fact that I knew the ending so that cut the tension of both the search and what might have been a nail biter of an ending. i would imagine it would be sort of the same with planet of the apes and psycho, even sixth sense if you want a modern one. But then again that’s the beauty of Casablanca, everyone knows the ending but it doesn’t matter because getting there is perfection.

  13. Hcat says:

    And the deal is finalized. The Dodgers have left Brooklyn.

  14. Hcat says:

    Thanks Yancy, That HR article is exactly what I was talking about regarding the passionate defense of favorites. Glad to see he mentioned the frontier comedy aspect which sort of comes out of nowhere and is a little jarring in its tone shift. I always found it odd that they seemed to slip ten minutes of McKlintock! into what was a serious epic. Its as poor of a fit as the Innkeeper in Les Miserables. I am more accepting of the folk music interludes that would start appearing in westerns a decade later than having baggy pants periphery characters getting an arrow in the butt for a cheap laugh in what is supposed to be a story about obsession.

The Hot Blog

Quote Unquotesee all »

“Don’t work with assholes. Ever. No matter what they’re offering, no matter what they bring to the table. If they’re the sort of person where the phone rings at 10 o’clock at night and you wince because you see that it’s them, then don’t do business with them. One asshole will ruin your life. I’ve managed my entire TV and filmmaking career to work with people I like and respect. If the point comes where I don’t like or respect someone, I don’t work with them anymore.”

– Anthony Bourdain

The Atlantic: You saw that the Academy Awards recently held up your 2001 acceptance speech as the Platonic ideal of an Oscar speech. Did you have a reaction?

Soderbergh: Shock and dismay. When that popped up and people started texting me about it, I said, “Oh, it’s too bad I’m not there to tell the story of how that took place.” Well. I was not sober at the time. And I had nothing prepared because I knew I wasn’t going to win [Best Director for Traffic]. I figured Ridley, Ang or Daldry would win. So I was hitting the bar pretty hard, having a great night, feeling super-relaxed because I don’t have to get up there. So the combination of a 0.4 blood alcohol level and lack of preparation resulted in me, in my state of drunkenness crossed with adrenaline surge. I was coherent enough to know that [if I tried to thank everyone], that way lies destruction. So I went the other way. There were some people who appreciated that, and there were some people who really wanted to hear their names said, and I had to apologize to them.
~ Steven Soderbergh