I have to go

I have to go.

Not the best movie overall. But this is probably the most powerful scene of the year.

Agreed, also the fire and immediate aftermath scene was fantastic as well.

Was he autism?

uh, no
after the thing, he had to shut down otherwise he would either kill himself or kill himself

He could of at least talked to her. What would be the harm in eating lunch with her? They both needed closure and he ran away like a autist

what did he mean by this?

It was clearly still way too painful for him to confront.

This movie seemed really melodramatic to me. It felt more like an oscar bait drama than a movie with actual feeling or anything to say. I really didn't like Affleck's acting and after seeing La La Land this movie felt almost entirely uninspired in the visual sense.

Maybe I'm just a pleb but the intensity of emotional focus in La La Land compared to this made it the best movie of the year for me.

>calls this melodramatic
>liked la la land
Manchester by the Sea was about a man who accidentally killed his two daughters because of his alcohol and drug problems and who, at last after all these years, is starting to be able to love again.
La La Land is about beautiful, vain people whose biggest problem is that they have to choose between fame and their 10/10 partner.

>that scene in the police station
However, the movie nailed massholes in such a way through day to day conversation, and I don't mean the accents, that it felt homey and dynamic enough not to be a constant downward spiral.

Great movie, something that's devastating and brutally honest in both the broad strokes and light touches, and yet I'm ready to see it again tomorrow.

uh, no
since any image of her would make the reality of the event, which he has been trying to escape from, fully real again

she's like the most massive trigger in his fucked life, and being back in town is the second biggest

>closure
this movie was all about things that you don't get closure from; closure, imho, is bullshit in severe real life situations, a total fantasy and evasion from reality, and this is why i think this movie is better than most of this kind

Maybe the content of the shots was a bit mundane compared to pretty LA, but every frame looked good. Everything was always perfectly framed.

I thought the movie had plenty to say about how people communicate with each other and deal with their problems.

>and after seeing La La Land

dude, fuck off
no offense

this

>two daughters
and baby son who no doubt looks very similar enough to his nephew.

Loved that they never showed the three photots, but every shot including them, especially the one where Patrick sees them, is heartbreaking.

Also agree on the other point about La La Land, they're both great, but on entirely different planes of cinematic existence.

They filmed some of it in my hometown and it felt amazingly familiar.

ywn be so internally incinerated to turn down a 9/10 who is literally begging to have lunch with you

oh yeh, forgot about the son. Shit.

and I enjoyed La La Land too, didn't mean to shit on it too hard, but calling this movie "melodramatic" is as ridiculous as laughing at someone for crying at a funeral

>9/10
hahahahahahahaha
hahahaha
dahahahahahahahahahaha

If you even watch the trailer for Manchester By The Sea you can easily see what I mean though. It is boring visually, uninspired score, the script was just a mediocre drama. I've seen plenty of other films that do what Manchester By The Sea was trying to do better.

I say Manchester is more melodramatic because despite its serious content I couldn't take it as seriously as I could take La La Land during the more serious parts It might be down to personal preference but La La Land was a more expertly made movie, and because it was so, it comes off as less melodramatic than a movie like Manchester with an exponentially more dramatic and serious plot.

Films are more than just plot, they are visuals, acting, music, editing, direction, writing, when it all comes together right it can be a very intense experience. La La Land gave me that intensity that Manchester did not. Just putting a character in a serious, bad situation doesn't make for an interesting or good film. It wasn't a bad movie but a bland one.

I've got family that used to live seasonal in Rockport, and I heard they filmed a bunch of scenes in Gloucester.

Also the high school, the actual location whose town name I can't remember, was a yearly away game trip.

Another small NE touch I loved was the dirty snow on the banks of the sidewalk when he was walking back from the convenience store.

Well he's going to have to learn to live with it. What the fuck is he expecting that time is going to heal his problems? I guess the other option is for him to never talk to her again but i feel like that could make him even more miserable in the end.

>It is boring visually, uninspired score, the script was just a mediocre drama.
Now you're just objectively wrong.

>I say Manchester is more melodramatic because despite its serious content I couldn't take it as seriously as I could take La La Land during the more serious parts
>as seriously
>as La La Land
and the hits keep coming

Some people just break and they don't get better.

It happens all the time.

I actually lost my dog a few weeks ago, and this dog was like my child. I had a dream the other night, and I was in my room, and my dog ran in, and jumped on my leg. And I said, "Oh God, I miss you so much, I haven't seen you in weeks. Where have you been?" And then I realized she had died and I was dreaming even though it felt real, like the Inception dream in a dream.

This movie sort of evoked some of those feelings of not being able to get things back that you really want to get back, and being stuck in a nightmare you want to wake up from, except it's just real, and things are bad real bad. This movie fucked me up bad.

You can meme arrow all you want, I told you why I think what I think, now if you want to discuss it you can tell me why you think I'm wrong or not. I'm not saying Manchester is a bad movie or that you're wrong for enjoying it, I said to me because of it's execution it was not as impactful as La La Land was on me emotionally.

laugh harder, hambeast

she has a perfectly shaped nose

I can't take seriously some bullshit movie about people dancing around like imbeciles and feeling sad about jazz and some bullshit relationship that airheaded to being with.

I think they should at least atempt to fix it. The character was supposed to be kind of emorionally weak i suppose

Fair enough, but because you feel the characters were privileged and you didn't like the dancing doesn't make it a bad movie, it just means it wasn't for you.

I don't think the Affleck character will be able to find redemption.

My uncle told me I remind him of Casey Affleck in Manchester by the Sea

muh dick

:(

From my point of view, any movie which injects some dance number, is pretty much bullshit and has already jumped the shark. This bullshit was okay in the 50s but its the 21st century and we don't have the luxury of drifting into some illusion.

Tell that to my friends Preet and Arvind

So you think any movie with a dance or music number is bad because it's not popular anymore, or because the 21st century is too grim and dark for that?

I genuinely don't understand. I thought the point of movies was often to be escapism, to make you feel joy, sadness, bittersweet emotions, anything really and La La Land made me feel all of it. But it was just bad because people danced?

I'm just saying that your statements in regards to the script and the film in general are just objectively wrong.

Manchester was a more nuanced movie, one that sinks under your skin for those new, or tears off scabs if you've been in a similar situation, and moves along from heartbreak to what can be called a recovery considering the severity for everyone involved.

La La Land, a movie I enjoyed greatly, is a feast for the senses that appeals to basically everyone, hopes and aspirations tied down by reality and whatnot. If anything, what made La La Land stand out from that very common pack of narrative was Chazelle's more evolved, smoother taste in direction as seen in Whiplash; leaner and prettier, as opposed to untamed and vicious.

Lonegran's approach is more stepped in time and experience, as witnessed by the handling of memory through flashbacks and much more organic conversation that still kept the movie at an appropriate pace. Plus, the cinematography was totally on point considering the environment of the film/ New England in winter is very grey like that, but the rusted and worn down colors still resonant, just not as brightly as LA.

They're both talented storytellers, and their greatest difference is in age; Chazelle styling and flexing, deservedly, Lonegran reflecting and processing, understandably.

The only problem in this discussion is your insistence that Manchester had anything wrong with it's narrative from an objective standpoint. "Boring visually, script just a mediocre drama". I can't argue, nevermind discuss such assertions when they simply aren't rooted in any fact.

Furthermore, the last part of the post is just completely off the mark. If you think Manchester was "just plot" and was "just putting a character in a serious, bad situation" I understand why you didn't appreciate its total concept. Also, why you appreciate La La Land's "intensity".

>21st century is too grim and dark for that?

I hope that's not his reason. Song and dance in movies was most popular when the world was just getting over the deadliest decade in human history.

I kind of get what he's saying in general though. American cinema did everything it could with musical movies. I guess you could make a relevant one if it used hip hop, rock, or modern pop music, but when the music isn't much different from the songs that were written 65 years ago it just seems tacky

>movie has dancing and singing
>lol dancings gay
>wtf im not gay lol
>lmao this movie sux

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i wasn't sure what to make of this when i saw it a month back but every time i remember a scene from it i feel emotional pain so i guess it did something right

>No honey, you're not burning.

christ

>gay

your words

>illusory and bullshit

my words

>La La Land, a movie I enjoyed greatly, is a feast for the senses that appeals to basically everyone, hopes and aspirations tied down by reality and whatnot. If anything, what made La La Land stand out from that very common pack of narrative was Chazelle's more evolved, smoother taste in direction as seen in Whiplash; leaner and prettier, as opposed to untamed and vicious.
I agree completely.

>Lonegran's approach is more stepped in time and experience, as witnessed by the handling of memory through flashbacks and much more organic conversation that still kept the movie at an appropriate pace. Plus, the cinematography was totally on point considering the environment of the film/ New England in winter is very grey like that, but the rusted and worn down colors still resonant, just not as brightly as LA.

I also agree that the cinematography was not bad- as someone else said the framing was very nice. Although I do think the gray and opposite-of-lively color temperature was important to the tone of the film, there are ways to make a darker or more bleak film without it being visually boring. Although the framing was very nice, I still found the flat, often unmoving angles unexciting.

>The only problem in this discussion is your insistence that Manchester had anything wrong with it's narrative from an objective standpoint. "Boring visually, script just a mediocre drama". I can't argue, nevermind discuss such assertions when they simply aren't rooted in any fact.

The script was not bad by any means but I've seen many drama films and once you've seen enough, you can recognize of the tropes and themes of grief, loss, trauma, and avoiding all reminders of those things. Again, not a bad script, but having seen so many drama films I felt that more could have been done to make it original or exciting, even some basic deconstruction or acknowledgment of the tropes it uses would have helped.

That was a horrible scene. I was telling my friend that we were watching a ghost story, because this dude is haunted by his children, and he is walking the planet like a wraith, half-alive because his horror is thorough and there is no waking up.

the direction and cinematography were spot on in presenting the locale accurately

that guy saying this movie is "boring visually" -- well, the point was not about providing a glittering display -- the character who nearly broke the immersion was Williams whom they had to "dirty up" to make her look more routine and common

>Furthermore, the last part of the post is just completely off the mark. If you think Manchester was "just plot" and was "just putting a character in a serious, bad situation" I understand why you didn't appreciate its total concept. Also, why you appreciate La La Land's "intensity".

It of course wasn't just those things, but on a basic story beats level that was exactly what it was. Not that story beats need to be complex or completely original, but I didn't feel like the movie had as much to say or added much/started any discussion about its themes. It's an examination of the themes I listed earlier, but examination of these themes has been done in just about every near-dramatic movie for 2 decades now. It's a sad movie and it did make me feel, it was well made enough to do that and the director certainly has talent, but La La Land was a breath of fresh air in my mind, even though I've seen all of the classic Hollywood musicals, there was a feeling and momentum to the film that is hard to capture and I have seen only rarely. It was nostalgic, it was passionate, it was emotional, it was beautiful, and expertly filed down in just the right places to give me goosebumps 5 or 6 times throughout the film. Manchester made me feel something but it didn't hit me with the same intense emotions La La Land did, for the reasons I've stated.

But we can both agree they were probably the best films of the year, and both look like masterpieces in comparison to the nonstop drivel and capeshit.

Michelle aged well. Would smash and impregnate

I uaed to hate Michelle Williams but I now think she's the most beautiful thing that ever existed.

>The script was not bad by any means but I've seen many drama films and once you've seen enough
Not to be a dick, but that's the cornerstone phrase of someone who hasn't seen enough or read enough.

Every storyteller, especially one of Lonergan's caliber, posses a way to differentiate their narrative, intentional or not. Writing off a story by pointing out similarities from other narratives robs the ebb and flow from the internal mechanics of the original piece. Manchester's characters evolved not in a vacuum, both from their environment, their histories, and off one another.

A simple example is Doctor Bethany: A name we hear early with little context, introduced visually and for the narrative in flashback, and concluded when she arrives at the funeral for only a moment, the knowing sadness of a long term doctor losing a doomed, but always optimistic patient. A small touch, but integral to Manchester as a film, and Lee's character.

Referencing external material as a dismissive cause, be it "tropes" or story beats or plot hooks or stereotypes, takes away from that shining uniqueness that's found within each competently constructed narrative, and it's obvious to say that Manchester exceeds competent in these approaches.

>even some basic deconstruction or acknowledgment of the tropes it uses would have helped
It really, really would not have in any imaginable way.

so, why did you hate her

she really hasn't been in a lot of obnoxious roles, unlike jlaw

>uninspired score
Yeah. The music was both bland and overbearing at times.

>tfw I thought she was Carey Mulligan

should you like; go to jail for a long ass time if you accidentally kill half your family in your comatose drugged up state? or do you get away scot free because the story demands it?

the director's handling of the sequencing wasn't new but he did it well and it worked for this movie

your other comments i found astute and valid; regarding controlling the nuance; some people in the audience were waiting for something more to happen at the end, and i think this film probably went over their head

is this up anywhere yet or atleast the scenes in question?

>could of

depends

if you think the killer will suffer more by not being punished formally, as a distraction to him, then you leave him alone to kill himself

[spoiler/]test[/spoiler]

test

anyone know where I can pirate this shit? saw it in the theaters and want to see it again, but can't find the torrent anywhere

She was in Lie to Me, and then Rectify. She's a depressive person, you can read it on her face. Pretty and depressed.

Dawson's Creek. Yrs I'm old.

>is starting to be able to love again.

Thats not what i got from it

>the point of the movie
I saw a lot of the movie as being a critique/discussion of masculinity

that comment made me laugh

hmm... dunno
maybe the kid, but not the main character

You should see Blue Valentine if you haven't yet.

thanks for the tip

i didn't like BV that much -- not sure why

Police station scene was fucking gut-wrenching

he really should have died with his kids; his existence was mostly pointless until his brother opted him into the will - oh shit that was the movie

What I liked most about this movie was that it broke type in that it wasn't one of those "substitute parent connects with adopted kid" movies. He already had a good relationship with his nephew, and they got along pretty well, for the most part. I found that very refreshing.

funniest scene: door kick

second funniest scene which was also grotesque: refrigerator

pls to help
I am like a baby

>what are spoilers

This post was written by a 15 year old

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wrong genre